Plein Air Painting Trip to Venice

Venice is a place that I have always wanted to paint. I have heard so much about the light and beauty, Venice did not disappoint.

Painting in different settings and typography is extremely challenging to me. Venice has elaborate architecture that must be dealt with. I simplified my painting the way I always do in large masses, then create calligraphy that makes more specific definitions.

I thought about researching all the iconic spots that great painters such as Turner, Sargent, Monet, and Whistler  have painted inVenice ; bringing something of my own to those motifs. When I arrived I was completely overwhelmed and decided that I should take it all in, rather than look for spots to paint.
It takes awhile to acquaint yourself with the light and a specific place as Venice.

Many artist friends had great suggestions as to whether I should bring watercolors (which would be lightweight to carry), or oils. I decided I am more proficient in oils. 

I brought a paint box, tripod, brushes and put my oil paints in a container and packed them in a suitcase. I brought canvas pads and masking tape as well. I through a backpack in the suitcase in the suitcase as well. Finding terpintine and extra paints was no problem I just started asking a local artist and he was kind enough to direct me to a store.

Giovanni Battista Tiepolo

I spent the mornings taking in Venice and seeing some of the museums. I went into a number of churches to see some of the major works Giovanni Battista Tiepolo; who's works I have greatly admired for some time. 

Biennale Arte was quite interesting and took up two mornings to see the whole exhibit; many countries including USA where among the exhibiters.

The afternoons I carried my gear around looking for places to paint. I can be a little distracting with all the visitors Venice commands to find a spot to set up but people more out of the way so I could set up. 

Painting in Venice is an amazing experience due to the ehe ever changing light.  I hope to return another time in the future now that I have had a chance to absorb the light and get a sense of the surroundings and culture.

I painted twelve oil painting plus numerous drawings of Venice.

Split Complements

A split complementary is when you use one of the main colors and two other colors that are adjacent to the complementary color of the chosen hue on the color wheel. The result is a paint scheme that offers high contrast without the tension of a complementary scheme. Examples of split complementary include: (i) red and yellow-green/blue-green or (ii) purple and yellow-orange/yellow-green. There are a total of 12 split complementary paint schemes,that I'm exploring. 

Recently I visited Margret Mcwethy. She encouraged me to make small painting using only the three color groups of split colors.  She felt that  this exercise would enable the artist to see temperature.

The first couple days I painted split complements on a gray day. The one on top I used was Blue (cobalt Blue) Yellow -orange, Red. The bottom one is Blue Green, yellow green  and red.

-This cloudy day study was painted with Blue Yellow Orange, orange red combo.

The example on the top is more of a sunny day compared to the bottom. Top violet Red, Yellow, and Blue. Bottom, Red violet, Viridian, Yellow combo creates the gray day.

These two are interesting study of the complements in a sunny day scheme. Orange, Viridian, Yellow for the top. The bottom was the use of Orange, blue, blue green.

Clearly a sunny day, Yellow, Orange, Blue

Two sunsets Top, Red, Yellow, Blue red combo. Bottom Red, yellow-green , Blue Green.

I found these exercises beneficial in that they stretched my understanding finding cools and warms in all these color combinations. By limiting the color choices I had to make decisions based on temperature instead of color specifics.

Art In The Barn

"Anything under the sun is beautiful if only you have vision", is the famous quote Charles W Hawthrone states in the book Hawthonre on Painting.
This past week I had the honor of leading Art  in the Barn, with PAAM. Art in the Barn was a one day event for artist's to paint in the historic barn where Hawthorne taught painting at the turn of the century. Art in the Barn is part of events held in the Hawthorne barn which includes concerts and lectures involving the arts in Provincetown. The month long events are conducted through a non profit organization called Twenty Summers.

More than twenty artist's attended. I set up six simple still life stations and gave a short talk about Charles Hawthorne and the legacy he left to the art world.
The teachings of Hawthorne is about making simple color sports and not being so concerned about the drawing. "Get the color right and you will see how little else you need". Paint the common place in a beautiful way.

Painting in the barn is a unique situation utilizing the great light that pours through the studio. One light source is created through the main large window, creating strong dramatic effects. 

While the Artist's took a break for lunch I set up a model in the north light. I gave a brief demonstration before setting everyone up to paint around the model.

It was an inspiring event that reminded us of the fundament thing that Charles Webster Hawthorn instilled in his students making Provincetown truly a world class Art colony.

A Personal View of Watercolor

Last summer I started to use watercolor again. It is a medium that I never really considered until a couple years ago.
 The watercolor must be planned, unlike oils there isn't  a lot of forgiveness. One splash too many and the game is over.
Personally I love the fresh splashy look of watercolor. I find it a constant challenge. The handling of water consistency and the transparency of the medium is what draws me to watercolor.

The Moors watercolor 10x11

The paper has a lot to do with the feeling of the painting. Some watercolor papers are rough and some are smooth. I have explored many different types and like them all.
Watercolor has many techniques involved. Water washes create transparent light washes. If you want more saturated or darker washes you need to have plenty of pigment in your brew!

The End of Winter onCommercial street.

Organizing your big lights and darks is a must along withs handling of the middle notes .
There is a spontaneity and freshness that watercolor gives. However understanding the essentials of watercolor techniques is key.

Chicky Lou

Personally I enjoy renewing my journey with this medium it helps me think about painting in a new way.

Easter Sunday 

copy of farmer