Mountains (a Series – Part 2)
In this part 2, I share more mountain paintings, a few more from the Banff region with a couple more based on reference photos from when I cycled the “Golden Triangle” in May of 2010.
“Sun Play II”, oil on hardboard, 41 by 30 cm, 2009
“Mountains Over Vermilion River”, oil on hardboard, 30 by 41 cm, 2010
“Mountain’s Edge”, oil on hardboard, 51 by 61 cm, 2009
“On the Ridge”, oil on canvas, 46 by 46 cm, 2010
“Rocky Mountain Serene” oil on canvas, 23 x 30 cm, 2009
untitled, oil on hardboard, 20 by 30 cm, 2009
Mountains (a Series – Part 1)
Living in the Canadian province of Alberta, the Rocky mountains have always been nearby and not an infrequent subject for my art (although not nearly as much as I would like). In this 2-part blog post I will share my take on mountains as subjects for landscape paintings.
All of the works in this “Part 1” were painted in August 2009 when I spent a week at the Banff Centre.
“Twisted Stone”, Oil on hardboard, 30 by 41 cm, 2009
“Mountain Mystery”, oil on canvas, 61 by 41 cm, 2009
“Long Shadows on Tunnel Mountain”, oil on hardboard, 30 by 41 cm, 2009
“Bow Valley from Tunnel Mountain”, oil on hardboard, 41 by 30 cm, 2009
“Sun Play (Banff)”, oil on hardboard, 61 by 51 cm, 2009
“Banff Evening Solitude”, oil on canvas, 51 by 76 cm, 2009
West Coast Trees (Painting Series)
In my previous blog post I shared a series of my landscape paintings of scenes from Canada’s west coast. Again, these were painted around 1992, in fact these paintings were intermingled with the more open coastal scenes done during the same period.
“Candles in the Rain”, acrylic on hardboard, 51 by 61 cm, 1992
“Red Trees”, acrylic on hardboard, 36 by 38 cm, 1992
“Red Path and Trees (study)”, acrylic on hardboard, 51 by 61 cm, 1992
“In the Darkness Grows”, acrylic on hardboard, 36 by 38 cm, 1992
“Together”, acrylic on canvas, 51 by 61 cm, 1992
West Coast (a Painting Series)
In around 1992 after visits to Canada’s west coast (particularly the Gulf Islands), I produced, perhaps my favorite series of paintings. This collection featured trees(and/or driftwood), shorelines and often active skies. My works at this time may show signs of influence from the paintings of Emily Carr.
“Bending to the Sky”, acrylic on hardboard, 61 by 61 cm, 1992
“Windswept”, acrylic on hardboard, 51 by 61 cm, 1992
“Red Leaning”, acrylic on hardboard, 12 by 15 cm, 1992
“Waiting on Island View Beach”, acrylic on canvas, 61 by 76 cm, 1992
“Turning Sky”, acrylic on canvas, 61 by 61 cm, 1992
Night Train (a Series)
This painting series was a bit unique for me. It had a common theme in terms of the subject matter – all of the images were drawn from what I saw (and captured with photos) during the night while on a train between Edmonton and Vancouver in November of 2007. What was unique for me was the use of oil pastel on a number of the works, and oil paint on a couple of larger ones.
“Rolling Through the Night”, oil on canvas, 41 by 51 cm, Nov 2008
“November Rockies Dusk”, oil pastel on paper, 23 x 30 cm, 2009
“Passing in the Night”, oil pastel on paper, 23 x 30 cm, 2008
“Night Siding”, oil pastel on paper, 23 x 30 cm, 2009
“Dawn Arrival”, oil pastel on paper, 23 x 30 cm, 2009
“Supporting the Dawn”, oil pastel on paper, 30 x 23 cm, 2008
“Morning Train into Vancouver “, oil on hardboard, 61 x 71 cm, 2008
Riverdale (a painting Series)
In the early 1990’s I did a series of paintings of the Riverdale community, in Edmonton’s river valley.
“Tree Frog Press”, acrylic on hardboard, 30 by 41 cm, 1991
“Bird Bath”, acrylic on canvas, 61 by 51 cm, 1992
One of the most distinguishing features of the community at the time was the large, undeveloped tract of land that belonged to the historic Little Brick factory, By the end of the decade those fields would be redeveloped to look like suburbia, but at the time it lent a rural charm to this area, just a kilometer from downtown.
“Old Brickyard Field”, acrylic on canvas, 51 by 61 cm, 1992
“Old Brickyard Road” acrylic on canvas, 51 by 61 cm, 1992
“The Little Brick House”, acrylic on hardboard, 28 by 36 cm, 1991
“The Rink Shack”, acrylic on canvas, 51 by 61 cm, 1992
“Sun on 92nd Street”, acrylic on hardboard, 36 by 38 cm, c. 1992
A decade and half later I would revisit this series with a few more paintings of the community:
“Summer Morning on 91st Street”, oil on hardboard, 51 by 61 cm, 2008
“Riverdale Garage (winter sunlight)”, oil on canvas, 41 by 51 cm, 2008
Alberta Landscapes (Painting Series, Before and After 2010)
In my previous blog post I shared my Alberta landscape paintings from the particularly busy year of 2010. In this post, I share my landscape works from a couple years before and after that year.
“Red Deer Field and Trees (study)”, oil on hardboard, 20 x 25 cm, 2007
“Canola Fields I”, oil on canvas, 51 x 76 cm, 2008
“Canola Fields II”, oil on canvas, 76 x 51 cm, 2008
(See the previous blog post for Alberta landscape paintings from the year 2010)
“North Saskatchewan River”, oil on canvas, 61 x 91 cm, 2011
“Storm Approaches” acrylic on hardboard, 61 x 91 cm, 2012
“Dark Treeline”, acrylic on canvas, 61 x 91 cm, 2012
“Bend in the North Saskatchewan River”, water color on paper, 10 x 15 cm, 2012
Alberta Landscapes – 2010 (a Painting Series)
Although landscapes are a theme I have always painted, there are periods when they become a particular focus. In around 2010, I developed a new series of landscapes from my home province of Alberta. Most of these again depict the prairies and parkland that dominates the central region of the province. I was painting primarily with oils during this period and this series was painted in the studio.
“Vanishing Prairie”, oil on hardboard, 31 x 41 cm, 2010
“Beside the Highway”, oil on canvas, 23 x 30 cm, 2010
“August Prairie and Sky”, oil on canvas, 76 x 51 cm, 2010
“Flat Prairie Horizon”, oil on canvas, 41 x 51 cm, 2010
“Prairie and Forest”, oil on canvas, 45 x 61 cm, 2010
Prairie Exit”, oil on canvas, 51 x 41 cm, 2010
Prairie Gold”, oil on canvas, 46 x 61 cm, 2010
“Prairie Hay”, oil on hardboard, 30 x 41 cm, 2010
“Prairie’s Edge”, oil on hardboard, 30 x 41 cm, 2010
“Sheltered Prairie”, oil on canvas, 41 x 51 cm, 2010
“Through the Trees”, oil on canvas, 41 x 51 cm, 2010
Alberta Landscapes – 1990 (a Painting Series)
In the late 1980’s and early 1990’s the subject matter of my painting was primarily landscapes, and more specifically the prairies, parkland and foothills of central part of Alberta.
“Approaching Prairie Storm”, acrylic on canvas, 61 x 91 cm, c. 1989
“Central Alberta Summer Horizon”, acrylic on hardboard, 61 x 41 cm, c. 1989
“Central Alberta Landscape”, acrylic on hardboard, 46 x 61 cm, 1992
“Red Deer College”, acrylic on canvas, 91 x 121 cm, c. 1989
“Restless Foothills”, acrylic on hardboard, 41 x 61 cm, 1991
“Road to the Rockies”, acrylic on canvas, 61 x 91 cm, 1991
“Rolling Prairie with Fence”, acrylic on canvas, 61 x 91 cm, 1991
“Southern Alberta Foothills”, acrylic on canvas, 51 x 91 cm, 1991
“Thunder Cloud”, acrylic on hardboard, 20 x 25 cm, c. 1990
“Stripey Fields”, acrylic on hardboard, 41 x 61 cm, 1988
Auvergne (Painting Series) – part 2
In Part 1, I shared some plein air paintings I made during a 3 week stay in a small village in the Auvergne region of central France. I was captivated by the area and it continued to be an influence on my painting for years. Not only did I paint while there but I also sketched and took many photos. These references and my memories inspired these paintings:
“Montaigut” oil on hardboard, 61 x 41 cm, c. 1986
“Steve Painting in Field”, acrylic on hardboard, 46 x 61 cm, c. 1986
“Evening Stroll Back to Montaigut”, acrylic on canvas, 51 x 76 cm, c. 1988
“Auvergne Landscape”, acrylic on hardboard, 46 x 61 cm, 1984 AoM
There are a few other paintings I have done of rural France that I count in this series, although I can’t be sure the scenes are from my 1984 visit to Auvergne or from another of my two trips to France during the eighties.
“Country Road”, acrylic on hardboard, 41 x 30 cm, c. 1985
“Maison dans la Campagne”, acrylic on canvas, 46 x 30 cm, c. 1986
“Red Roof in French Landscape”, acrylic on hardboard, 30 x 46 cm, c. 1988
Auvergne (Painting Series) – part 1
The creation of my first painting series (a group of works based on a common theme and style), was an important point for my artistic development. In August of 1984 I attended a “Painting in France” course put on by Paul Deggan (in conjunction with Capilano College in Vancouver). I and three other students stayed at Deggan’s home / art studio in the small, medieval village of Montaigut-le-Blanc in central France (the Auvergne region). For three weeks (after a week in Paris) we explored and painted this picturesque village (with it’s old chateau, a church and village walls) and surrounding rural areas.
The paintings in Part 1 of this series blog post are works that were painted “en plein air”, right there looking directly at the scene.
“Countryside View from Chateau” Oil on canvas board 45 x 56 cm
“L’Eglise”, oil on canvas board 33 x 41 cm
“In the Field”, oil on canvas board, 28 x 41 cm
“Arch in Montaigut-le-Blanc” – oil on canvas board, 38 x 56 cm
A number of other paintings were created as part of this series but they were done after the trip, back in the studio, from sketches and reference photos. These other paintings are featured in part 2 of this blog.
The North (Painting Series)
In 2009, I painted a series inspired by a train trip from Toronto to Edmonton in December of 2008. The first day and a half of the trip covered southern and northern (northwest) Ontario (actually not very far north in terms of Canada’s geography but feeling very far removed compared to the Toronto region). I took many photos of the rugged terrain of the Canadian Shield to use as reference images for paintings. As a series this is one of my personal favorites. Here are the key works:
“Evening from the Canadian”, oil on canvas, 61 by 122 cm (24×48″), 2009
“Leaning”, oil on canvas, 41 by 41 cm (16×16″), 2009
“Northern Survivor”, oil on canvas, 51 by 76 cm (20 x 30″), 2009
“Winter Sunrise on the Rails”, oil on canvas, 61 by 61 cm (24 x 24″), 2009
“December Sunset (Northern Ontario)”, oil on canvas, 61 by 61 cm (24×24″), 2009
“Leaning II”, oil on canvas, 61 by 61 cm (24×24″), 2009
“Northern Sunset Over Unknown Lake”, oil on canvas, 61 by 91 cm (24×36″), 2009
Twitter Art Exhibit 2016
I am participating again in the Twitter Art Exhibit. I mailed my postcard-sized painting today. It should comfortably get to New York by the March 11 deadline.
Here’s an image of my piece, entitled “Restless”:
This, the sixth, Twitter Art Exhibit runs March 31 to April 21 (2016) at the Trygve Lie Gallery in New York City.
Like all of the preceding Twitter art exhibitions, the works are donated by artists from around the world and sold, with proceeds going to charity. There is no theme for the exhibit (the only thread connecting the exhibit is that all of the artists are on Twitter), so the range of works is mind boggling. To get a feel for the diversity, look inside the book featuring the works from the 2014 Twitter Art Exhibit that was held in Orlando.
The first Twitter Art Exhibit was held in 2010 in Moss, Norway, the hometown of founder David Sandum (@DavidSandumArt), after he called upon his many international artist friends on Twitter. The rest as they say is history.
My Twitter handle is: @RandallTT
Jock Macdonald at the Vancouver Art Gallery
While recently in Vancouver I did what I try to do every time that I make it to that city – visit the Vancouver Art Gallery and very specifically to visit their collection of Emily Carr paintings. The Vancouver Art Gallery occupies a wonderful old building in downtown Vancouver with the top floor gallery devoted to Emily Carr. There are however 3 other floors, exhibiting other shows and what ever I can see there is just a bonus for me. See my previous post about what I saw on the Emily Carr floor on this visit.
Perhaps the highlight for me on this visit was the exhibition “Jock Macdonald: Evolving Forms“.
I must admit that before I got there, I’d heard there was an exhibit of work by the Canadian painter J. MacDonald and I just assumed it was J.E.H MacDonald, one of my favorite painters from the Group of Seven.
But wrong I was. It was a different Macdonald and while I guess I’d heard the of Jock Macdonald but never really seen his work – I got a good education!
Jock (more formally James William Galloway) Macdonald was a leading Canadian modernist painter of the 20th Century. He was born (1897) and raised in Scotland before coming to Canada in the 1920’s. He first settled in Vancouver but would live in a number of places in Canada before passing away in 1960 in Toronto after over a decade there.
His early training was as a designer and some of his early work bears the influence of commercial design. In Canada he worked with Fred Varley of the Group of Seven and produced some fine landscape canvases that fit right in with the work of the Group.
But most significantly (and enlightening for me) was his development as a leading modernist abstract painter. In fact he was an important member of the Canadian Painters Eleven group.
Accompanying the exhibit is a fine catalog (printed by black dog publishing), that I just had to bring home with me as a reminder and reference, after seeing the exhibition.
Jock Macdonald: Evolving Forms runs at the Vancouver Art Gallery until 2015 January 4th.
[link to Jock Macdonald at the National Gallery of Canada website]
Credit to a Curator
It might be said that a curator (of an art exhibition) is doing their job when they aren’t even noticed or thought about by the visitor to an exhibit. Most of the time, I never give any thought to who the curator was or how well they did their job. The exhibit either works and I enjoy it (the art work presented) or it doesn’t really make an impression on me so I just move on.
Last week though, while visiting the Vancouver Art Gallery, I found myself thinking “This shouldn’t be working but it does – Who curated this?”
The exhibit I refer to is “Emily Carr and Landon Mackenzie: Wood Chopper and the Monkey“, described in the exhibition guide:
Engaging in a dialogue with the work of eminent British Columbia artist Emily Carr, Vancouver-based painter Landon Mackenzie presents three thematically arranged galleries with more than 50 artworks that collectively span over 100 years of landscape paintings by these two artists.
Why I was skeptical about this exhibition working is because I hold Emily Carr in such high esteem. I couldn’t imagine presenting her work with anyone but, say Tom Thomson or the Group of Seven members. Landon Mackenzie is a contemporary artist, born in 1954, whose work while including some landscape elements also extends to large abstract paintings that at first glance would seem to have no way of being connected to Carr’s work. Somehow though, the juxtaposition of the work of these two artists works and delivers and pleasing and meaningful experience.
images of paintings by Mackenzie and Carr (from the Exhibition catalog)
This exhibit runs at the Vancouver Art Gallery from 2014 September 20 to 2015 April 6. Incidentally this exhibit is the fourth in a series of exhibitions pairing Carr’s work with that of contemporary artists from the region. It was the first one that I’ve seen (or was even aware of) but my interest is piqued.
Oh, yes, the curator? Grant Arnold, Audain Curator of British Columbia Art – BRAVO!
Artistic Retreat
For the second year, the first week of July has been an opportunity to escape the city and normal responsibilities for the serenity of the countryside and the inspiration of being around like-minded artists.
My makeshift outdoor studio
A group of 12 painters gathered at the Lazy M Lodge in rural central Alberta for five days of rest, relaxation and rejuvenation.
Alberta countryside near the Lazy M
The North Raven River beside the Lazy M
My main goal for the week was to focus on painting but I knew my eye would be drawn to many more sights than I could attempt to paint. Therefore my camera would be close at hand and be put to good use capturing references for current and future landscape paintings as well as for some things that are just more suited to photographic images than paint.
My goals for the week were pretty loose but I did want to focus on landscape painting and I did want to work larger and looser with acrylic than I had done the previous year. So I did away with the backpack and pochade box and working on by 9 by 12 inch boards. This year I wouldn’t be packing my gear – I brought some medium size (22 by 28 inch; 56 by 71 cm) stretched canvases, a portable easel and a (5 foot long) folding table. I pre-mixed my acrylic paints half-and-half with a heavy gel to help hold the texture and to extend the working time. I also would use a couple of stay-wet, sealable palettes for color mixing. I used a split-primary color palette and would do mos of my painting thick and with a palette knife)
Paint for the week
Lazy M Driveway
Of course, my eye was looking not only for landscapes that I could paint quasi-en-plein-air but also for inspirations for future studio abstract paintings. I re-visisted my long-exposure with camera-motion technique to generate some of these ideas:
Green Between Pink
A project that the group of 12 painters undertook during the week was to produce this composite canvas (4 feet square) to be left at the Lazy M Lodge:
Lazy M Group Project
It wasn’t a highly productive week in terms of completed canvases. In fact I completed only 2 (and one is not a keeper). I got a good start on another couple of canvases forming a landscape diptych. Nonetheless, it was a very beneficial week – the rest and rejuvenation benefits can not be understated.
For more photos visit my Lazy M 2014 Flickr album.
ASA 2012 New Members Exhibition
Paintings by Randall Talbot in the ASA’s 2012 New Members Show: (L-R) Storm Approaches, Dark Treeline, Spirals
2013 March 8 – the Alberta Society of Artists (ASA) New Members Show Opening
It started about a year earlier when I submitted images of my recent paintings to the ASA in application for full member status. In April 2012 I received word that I had been juried-in as a full member.
One of the things the ASA does to welcome new members is to give them an opportunity to participate in an exclusive New Member’s show. This year it was at the Artpoint Gallery and Studio Society in Calgary, Alberta, Canada.
 I had brought my three paintings for the show, from my home in Edmonton to Calgary a few weeks before the show, when I had drove to Calgary for a meeting. I came back down to Calgary for the Opening but this time chose to travel by bus.
I walked from downtown to the Artpoint Gallery for the opening – a pleasant 25 minute stroll in the late afternoon sun of a springlike day. I arrived at the gallery a bit before six for the Opening which ran from 5 to 9. The gallery was pretty quiet at that time, but the crowds built as the evening progressed and the room was pretty full by 7 when the artists each spoke a bit about their work (or in the case of Shona Rae, did a fascinating story-telling performance).
The Artpoint Gallery for the Opening of the ASA’s 2012 New Members Show
ASA Opening at the Artpoint
I was one of 8 new ASA members showing in this exhibition. The others were:
When my turn came to speak, I spoke briefly about my background – a lifelong Albertan with a longtime interest in the visual arts including painting, photography and sculpting. I then said a few words about each of my three paintings in the show (all were painted in 2012 but representing different approaches):
Storm Approaches
acrylic on hardboard
61 by 91 cm (24×36 inches)
This work is an example of by approach of working plein air. This work was developed in the studio based on a small sketch that I had done on-site. The particular location of this was near the central Alberta community of Markerville but it depicts a fairly generic and common prairie/parkland scene on a summer afternoon, when the dark clouds roll in from the west.
Dark Treeline
acrylic on canvas
61 by 91 cm (24×36 inches)
This painting is an example of an increasingly common technique in my work, of using my own abstracted photographs as the inspiration and reference for abstracted landscapes. I use a technique of multiple second exposures while I move the camera to create the abstraction/simplification of the scene.
Spirals
oil on canvas
46 by 46 cm (18x 18 inches)
This non-representational (abstract) work was one of a small series of exploration I began in October of 2012. The key feature of this series is the technique of drawing into the wet oil paint, using a variety of tools, to leave marks and reveal the underpainting.
All in all, it was a great evening – a chance for me to meet some artists and art lovers I had not known and see some interesting work. It was an opening to a good exhibition that I am proud to be part of.
The show runs until March 30th (2013) in Calgary.
The Exterior of the Artpoint Gallery at the end of the Evening
Workshop’s End – Day 5
Ganges Harbour on a Sunny Morning
The fifth and final day of the 2012 Federation of Canadian Artists (FCA) plein air workshop on Salt Spring Island was on Sunday September 16th. The format of the day was different but that was okay. Instead of heading of as one of four groups to a different location on the island and being instructed by one of the experts, this day we hung around Ganges and painted.
Painting from the Dockside Gazebo
Well it wasn’t quite that simple. We started of with a group critique, an opportunity to get back with the instructor whom we started with on Day 1. The group was able to take a look at what they had accomplished over the week and to get some useful feedback.
After that it was time to get down to painting. With some one hundred workshop attendees there were lots of plein air painters to be seen around Ganges and particularly along the waterfront.
For my first painting of the day I chose a water scene and worked quickly to capture the impression on it. I found the instruction of Stephen Quiller (who our group had studied with the previous day) to be most on my mind. As a result, I was experimenting with thin acrylic washes to start with, building up values and rich colors. The final strokes were to apply thicker, more opaque acrylic.
My painting of the Ganges Harbor
After this water scene, I wanted to paint a forest scene, so I packed up my gear and walked to Mouat Park on the edge of Ganges. Although very dry at this time of year, this are was still lush and green, dark and refreshing.
Mouat Park, Salt Spring Island
My Idyllic setting in Mouat Park
I finished one plein air sketch there in the park and did a couple of thumbnails sketches for another one.
I also wanted to consider another water or town scene so I hiked back through Ganges looking for an inspiring scene. For some reason I didn’t find anything that caught my fancy so in the end IÂ was back near Art Spring.
Setting for my final painting
I set up my pochade box on a big stone table and proceeded to work from my thumbnail sketch. I was in a bit of a hurry as I worked here. At 3 o’clcok we were to begin set up for the “Wet Paint show and sale” at Art Spring. The widely publicized even ran from 4 until 6 giving those so inclined and opportunity to sell works which they had completed during the week. I chose not to put any of my works up for sale but I did set some pieces to show along with some of my business cards.
The Wet Paint Sale”
Another unique aspect to this final workshop day was an opportunity for a one-on-one critique with the legendary Robert Genn. I did not take advantage of this but many people did and if there is a next time, I will.
The final event of the week was an evening banquet at the Harbor House Hotel. This was a very nice event with just a little bit of formal talking, lots of opportunity to chat with fellow workshop participants and an exceptional meal.
The week went by very quickly but it was good and I will certainly consider doing it again. Next year’s equivalent event will be held in September at Whistler, BC.
FCA Salt Spring Workshop – Day 4
Stephen Quiller Demonstrating for the Class (and any chickens that cared to watch)
On the fourth day of the 2012 Federation of Canadian Artists (FCA) workshop on Salt Spring Island, our group was with Stephen Quiller [see my introductory post about this workshop]. Our location was at a private farm, on the coast, a couple of kilometers south of Ganges [see map]. This was another location that offered some subject matter to suit everyone’s tastes – there was the farm, with trees, chickens, road and fences and nearby, ocean-side fields and beaches.
Quiller & his Color Wheel
Stephen Quiller is a water-media artist, not making a big distinction between water color , acrylic and gouache media. He is very comfortable with and knowledgeable about all. Quiller is noted for his work with color and has a number of products and books relating to his Quiller color wheel. In fact, having studied his books, was how his name popped out for me, amongst the four workshop instructors. One of the key lessons from Quiller related to his efforts in identifying color complement pairs amongst the many hues of colors available today. By mixing these pairs one is able to obtain some very nice clear greys, or neutral tones. Interestingly as he was unable to find a perfect complement to cadmium yellow light, he had his own created – Quiller Violet.
As in the days that we spent with the other workshop instructors, the format was to have a demo/talk first thing in the morning and then the participants would disperse over the area to work on their own and then we would gather again just after lunch for another demo. On this day we also got together for a group critique at the end of the day.
The demonstration started off with a description of Quiller’s color theory and then he got into working on a piece – an abstracted depiction of the landscape in front of him (using acrylics). Quiller\s approach was to start with thin, transparent washes and work his way to applications of opaque paint. Before starting the actual painting Quiller asked that any questions be saved until the end so as not to disrupt his process. I expected him to be in the “zone” and therefore completely silent during his painting process but while he was clearly in the zone, there was one side of him that was still giving a very useful running commentary of what he was doing and thinking.
A Fence Line – one option to paint
A Beach Scene – another option
A scene similar to the one I chose to paint
Having so many possibilities for paintings around this location, it was difficult to choose. I hiked down the shaded path from the farm area to a large grassy spit which featured a greeny bay at low tide on one side and the open water and a rocky beach on the other. On the land was a large grassy field bordered by some trees sporting dramatic autumn colors.
The field/tree scene won out for me so I set up my pochade box in the shade looking out over this scene and got to work. I was experimenting with my process again on this day – still trying to find the best way to use acrylics for this plein air work. I learned on the previous days that my paints were just drying out too quickly on the palette – even when I used the Sta-Wet palette with a wet sponge underneath.
My plein air palette
This day I tried pre-mixing my tube colors with heavy gloss gel to slow the drying time and also to give me a thicker paint, which I prefer for the impasto style. I stored these premixed colors in little plastic cups with lids, which were great for ensuring that the left over paint could be saved for my next session. I still used the Sta-Wet palette as my surface for mixing (and saving) other colors.
It was a good day with Stephen Quiller. the information on his color theories was good but largely review. there were a couple of things that he said that while not new or revolutionary, really stuck with me during that day and I’m still thinking about them.
- “See the stroke – put it down” is what he said. These are simple words, a simple concept but oh so important so as not to muck about in one’s painting and thereby destroy the freshness and expressiveness of the image.
- “Always finish your paintings”. There is a tendency to give up on hopeless cases, canvases that you just know can’t be saved. Quiller said that the last 15% of a painting can be very hard – but very beneficial. Keep working on the problems and you will learn something and probably something that will help prevent you from making the same mistake again!
The road out of the farm at the end of the day
Go back to my Workshop Day 3 (with Carla O’Conner) blog post.
Three Regions, Three Values
John Salminen
On the second day (Sept. 13) of the Federation of Canadian Artists (FCA) 2012 workshop on Salt Spring Island, our group had the very entertaining and knowledgeable John Salminen as our instructor.
John’s forte is painting urban scenes with watercolor. Our painting location for this day was the Garry Oaks Winery. This place wasn’t an urban location but John found a suitable building on the premises to use as the subject for his demonstration piece. Not being particularly drawn to buildings myself I found this site with many opportunities for landscape paintings. I’m particularly fond of the parallel lines of the rows of the vineyard.
Part of the vineyard at Garry Oaks Winery
Shortly after our arrival at 9 AM, the group gathered together and John began his demonstration. Unlike many instructors who do not like to actually demonstrate by creating a full work from start to finish, John did. He did do a few things in preparation before the group arrived and also did a bit of work while we were scattered in the fields. Nonetheless, through the two demo sessions that he did we got a good idea of how he approached his work. John works in watercolor so many of the tips and techniques (e.g. masking off sections of the painting and use a mouth-blown sprayer) of that he shared won’t have direct applicability to my current style but I have carefully tucked away his approaches for future use.
John Salmimen’s Demonstration Piece
One thing that John talked about which is fully applicable to any media, concerned values and planning your composition. He said to consider that your scene has three regions: a foreground, a middle ground and a background. Also consider that there are three value families: Light (say values 1 to 3, on a nine point scale), middle (values 4 to 6) and darks (values 7 to 9 ). John suggested doing thumbnail sketches of the composition using all of the combinations of value families with the three regions. For example you could do the foreground in your darkest values, your mid-ground with your middle values and the background in your lightest values – or you could flip that around making your foreground lightest and background darkest. Or maybe you make your middle ground darkest
There are 6 combinations of the value families that you can assign to the three different sections of your painting and each can impart a different mood on the scene. Also worth remembering is that you don’t need to be a slave to reality – just because nature is presenting you with a scene where the background (e.g. distant hills and sky) are very light, your painting does not have to be the same (it could be – but that your choice!).
This lesson stuck with me, it was with me through that day as I tried to apply the idea, but it was also there in the back of my mind throughout the rest of the week. A good principle, a good lesson!
Plein Air Painting at Garry Oaks Winery
After the morning demonstration, I wandered up and down the road beside the vineyard looking for just the right scene to capture my attention. I ended up finding a nice spot in the shade under a massive old oak tree, looking out over a section of the vineyard with curving rows. I would spend the rest of the day in that spot and although the painting, didn’t turn out to my satisfaction. I kept repeating my mantra from Day 1 ” I don’t have to produce a finished painting, I am just here to learn”!
During the course of the day, John made the rounds to visit the students scattered around the property, offering individual suggestions. He got to me quite late in the day and suggested that I add a figure as a focal point. I don’t often include figures in my landscapes (although I often thought I should). Anyway, I did put in a suggestion of a figure and have to agree that it does add a focal point to an otherwise ungrounded painting. What do you think?
“Finished” Plein Air Sketch
So that was day 2 – another day of solid learning, another day of not so successful painting – and all in a very beautiful locale. [click here to read about Day 3]
Pastureland
Across the Valley
Lavender and Gold
Simplify! – A Workshop Lesson
Simplify – that is the message I took from Elizabeth Wiltzen, our group’s first-day instructor at the 2012 FCA workshop, on Salt Spring Island. (for an intro to this workshop, see my first post in the series). Liz is a very accomplished oil painter of landscapes, from Canmore (Alberta, Canada) who had worked in watercolors for years. Interestingly, she is also a life coach and an avalanche rescue (with dog) volunteer.
Liz Wiltzen painting a demo
I liked the way Liz started off the workshop: encouraging, no demanding, that we drop any pressures (self imposed or imagined) to have to complete paintings during the week. We were there to learn, to experiment, to try and fail, but ultimately to grow. She joked that the “wet paint sale”, scheduled for the last day, was not happening. It was of course, but we were to act as if it wasn’t and not feel under any pressure to produce. I though this set a very good tone, not only for this day but for the entire workshop. I know I adopted that mindset and while I would get frustrated with a lack of quality output, I kept telling myself that I was there to learn and if I didn’t end up with even a single finished painting, that was okay – that thought settled me down on more than one occasion.
On this day, our group was on a beautiful private property, right on the south coast of the island, between Ruckle Park and Fulford Harbour. The views looking towards the water were particularly stunning. The views looking inland weren’t bad either, with fields, buildings, trees and rocks.
Land and Sea – Salt Spring Island
Liz started off with a good talk about her plein air painting equipment as she set it up for her first demonstration – of the exercise she wanted us to take on that morning. During that day we were given 2 exercises. That first one was to simply a scene to a few (5 to 10) large shapes and assign each shape one of just 5 values – and then paint it like that! 
This sort of exercise is nothing new but it was nonetheless very valuable. It is so easy to get overwhelmed by a scene, all the details and color. What this exercise demonstrated is the value of getting down good solid “bones”, an infrastructure for the painting! When you’ve got a believable value composition down, you are half way there!
On the right is my small painting resulting from that morning’s exercise – again the goal being to simplify shapes and values (and of course it is not as easy as it looks)!
The format of this first day of the workshop was typical of each day. We would get on site by 9 AM unload our gear and gather as a group (of about 25). Our instructor for the day would then give us a talk and demonstration (for maybe half an hour) and then we would scatter around the site to get down to painting. When done for the morning we would typically eat the lunch that we had brought and then gather as a group for the afternoon demonstration.
The Afternoon Demo
At our afternoon gathering, Liz demonstrated the exercise that she wanted us to try that afternoon. Still on the theme of simplifying. the challenge was to do a painting using just 50 strokes of the paintbrush. Well this was interesting – she made it look easy but of course it was not. A good starting point was to follow the lesson from the morning by establishing your composition with a limited number of large shapes. When it came to the painting, one trick (especially in the early stages), was to load up a paintbrush and without lifting it from the surface, sweep it all about to fill in the large shapes. Later strokes would be shorter and useful for adding highlights and providing definition to the painting. One of the unexpected challenges of this exercise is keeping track of the 50 strokes – once you get into the painting zone it is so easy to lose track of a simple thing like counting. Before I started painting I took a couple of pine cones and pulled off 50 scales, put the 50 markers in a pile.. Then after each painting stroke, I simply tossed away one of the scales – when they were all gone, my painting was “done” (“remember, it’s just an exercise”)!
A Small Beach (crying out to be painted)
It was a good first day with the exceptionally beautiful landscapes that I was expecting, great weather, a chance to meet a few of the people in my group and of course a couple of lessons in simplification that stuck with me through the week (and beyond).
Simplify – The First Step to Getting Your Plein Air Ducks in a Row
Plein Air Painting on Salt Spring Island
I recently spent a wonderful week on Salt Spring Island, on Canada’s west coast, attending a workshop put on by the Federation of Canadian Artists (FCA).
A Scene from Salt Spring Island (at one of the sites of our plein air painting)
The 5-day workshop ran from Wednesday September 12th through Sunday September 16th. There were about 100 participants divided up into 4 groups. For the first four days, each group spent a day with a different one of the four workshop instructors, at a different site on the island. On the last day, everyone painted in and around Ganges on their own.
Every day we were out painting “en plein air”, in landscapes which offered views of coasts, fields, forests, buildings and animals – something for everyone!
The four workshop instructors were: John Salminen, Elizabeth Wiltzen, Carla O’Connor and Stephen Quiller. Each instructor focused on a particular media but were able to provide valuable guidance to everyone, in whatever media the participant chose to use.
Workshop Instructors (left to right) John Salminen, Liz Wiltzen, Carla O’Conner and Stephen Quiller, at the Wednesday evening panel discussion.
Another very unique and welcome feature of this year’s workshop was a talk on Friday evening, given by the world-renowned (and Salt Spring Island resident) painter and naturalist, Robert Bateman. Bateman is obviously a man with a million stories (and opinions), a good an passionate speaker (looking way younger than his 82 years). On this evening he spoke about his development and influences. I learned that he had once painted landscapes in the style of Tom Thomson and the Group of Seven (and quite frankly, that earlier style appealed to me more than the his realistic wildlife work). I was also impressed by (and would never have guessed) his appreciation for abstract expressionists such as Rothko, Kline and Still. He demonstrated how he was influenced by their compositions and incorporated them into his high-realism wildlife paintings. Overall it was a very enjoyable evening in a very good week.
Plein air painting in a vineyard on Salt Spring Island
Our last day of the workshop (Sunday) was different, but nonetheless valuable. We painted in Ganges, had group critiques of the work’s week as well as the opportunity for one-on-one critiques with Robert Genn. Late in the afternoon there was a two hour “wet canvas” sale – an opportunity to show and sell paintings. The well organized workshop week wrapped up with a very nice banquet – a excellent meal and an opportunity to chat and reminisce with old and new friends, on Sunday evening.
Next year’s FCAÂ week-long workshop is being organized for Whistler B.C. in September 2013. After this years experience I will be giving serious consideration to attending that one too.
In future posts on this blog I will share some of the things that I learned during this week on Salt Spring – there was something learned everyday and from every instructor – stay tuned! [go to Workshop Day 1 post]
Misericordia Show
Yesterday, 2012 July 7, I had the pleasure of setting up a major show of 43 of my paintings at the Misericordia Hospital in Edmonton.
Paintings laid out in the main hallway prior to hanging
The show includes paintings spanning my painting career of some 25 years. The first paintings encountered as one travels the hallway north of the main lobby is a group of seven paintings depicting the Canadian landscape. This group was inspired was inspired by a train trip I took a few years ago from Toronto to Edmonton, and particularly the rugged Canadian Shield in Northern Ontario.
Four paintings in the northern Canadian Landscape group
After passing through this group of paintings, a turn to the left takes one into the hallway that contains 36 of my paintings – landscapes, abstracts and some in between. First, on the right, are 3 landscape paintings going back to the 1980’s. There is a landscape of the the Auvergne region of France and couple of Alberta landscapes (done in very different styles).
“Woods in Spring” and “Auvergne Landscape”
Next on the right are a group of five paintings of the Alberta prairies from the last 4 years.
“Prairie Gold” and “Canola Fields I”
The Prairies give way to the mountains with a eight paintings (some quite abstracted) from 2009/10 depicting scenes of, from and in the Canadian Rockies.
“Banff Evening Solitude” and “Mountains Over Vermillion River” from the Mountains group
At the end of the long hallway, one turns around and returns, seeing a few more of the mountain group and then a selection of ten paintings from my Earth Light Tapestries series. This series of 24 highly textured acrylic paintings was created on 2006/7Â and 14 of them were exhibited at Edmonton’s Milner Library gallery in the fall of 2009. Seeing 10 of these 24 by 24 inch (61×61 cm) works in a row is quite impressive.
“Earth Light Tapestry XIX” and “Earth Light Tapestry XV “
Next are 5 paintings of an abstract nature including 1 that was inspired by an early morning train arrival into Vancouver and two from a scene on Beddis Beach on Salt Spring Island on a foggy November morning in 2007.
“Always Waiting” and “Park Nocturne I”
Back at the start of the long hallway the show ends with a few of my most recent canvases.
“Dark Treeline ” and “Path 2011”
This show runs through to August 17th on the main floor (look for the Day Ward hallway) at the Misericordia Hospital in west Edmonton [map]. The works are for sale during the show – contact the Misericordia Volunteer office (780-735-2754) for more information.
Plein Air en Velo
I’ve always felt that plein air painting is the ultimate but I’ve never done enough of it to really feel comfortable. Hopefully that will change now that I’ve outfitted myself with equipment that allows me to take-off on my mountain bike with my painting gear. While riding around the river valley here in Edmonton I’ve often noticed views that cried out to be painted. Until know I have had to be satisfied with taking a quick reference photo and then working up a painting in the studio.
The first piece in the puzzle was the pochade, a self contained studio-in-a box. I have long heard of the Guerrilla Painter line of plein air boxes and after much deliberation decided to go with their 9 x 12 inch pochade. I wanted something as big as possible but it had to be small enough to carry on my bike. That meant I had to face the limitation of the bike bag (pannier) that I would use. At first I did not think I’d be able to find a bag to accommodate the 9×12 box and so had been thinking I’d have to go with the 6×8 box. But I did find a pannier at Mountain Equipment Co-op (MEC) that I thought would work – but it didn’t. Even though the dimensions of the bad were adequate the opening at the top was just a tad too small – the bag wouldn’t stretch and the wooden box can’t compress to fit through the opening. I returned that bag and picked up another one (the Urban Shopping Tote) which had a large top opening and ample room inside (not only for the pochade box but also for my collapsible stool).
Guerrilla 9×12 Painting Box
Stool, Pochade and Pannier
Pannier on rack with Pochade and stool inside
It looks like the bike may be side-heavy with the bag/box on just the one side but I noticed nothing unusual in the bike handling as I was riding. I set off down the bike paths and then dirt trail within Edmonton’s river valley arriving at a place about 10K from home that I had long wanted to paint. It is a little pond set on a flat section, half way down the river bank.
my painting scene
Having picked my scene, I got set up to paint. The pochade and stool came out of my bike bag easily and set up quickly.
- Bike and painting gear on location
I had decided, for this first test run, not to use a tripod to support the pochade box since I’d prefer to travel light and not to have to carry a tripod. One thing I quickly discovered was that I couldn’t just support the pochade on my lap. I ended up sitting on my stool with one leg crossed up over the other to give me a more stable platform. This worked reasonably well but was not the most comfortable position and it did not allow me to easily back away from the painting to get the big picture of how it was coming along.
The scene sketched in
At one point I did put the pochade upon my stool so I could back-up and take a look. Another lesson was learned at that point. The stool is not the most stable thing.
A moment to admire
As I got a few paces back, I saw not only my painting and the inspirational scene but in slow motion, I watched as the stool collapsed and my pochade box fell and dumped its contents at the edge of the pond.
Oops!
Fortunately there was no damage – the canvas stayed in the lid and none of my paints or other equipment actually hit water. I picked everything up and put the finishing touches on my painting.
the “finished” sketch (9×12″, oil on canvas)
I am already looking forward to my next plein air excursion on the bike. I will take along a tripod to hold the pochade box and also will experiment with different clothing, that might be a bit better for both cycling and painting.
Randall Talbot - Artist 