Galleries – Landscapes (Plein Air)

My first experience painting in plein air was when I was about 12 or 13 with my mentor, Alton S. Tobey. He had taken a group of his students to a pond in Larchmont, N.Y., near his studio, to paint out doors. It was a profound experience as I felt an affirmation of an already experienced connection to nature and it hooked me into landscape painting for my entire life. Though I don’t think of myself exclusively as a “Plein Air Painter”, (infact, as you can see from my work – I am not attached to any one genre, style or even medium) – I think of myself as an artist, a “spiritrealist” (a term I coined in the 70’s). Rather, I am committed to painting and creativity- in whatever manner the creative spirit moves me to express it. That said, I have been however, also committed to the expression of that creative spirit through painting the landscape. I have throughout my career continually focused on the landscape, painting both in plein air, (on location) and in the studio. Nature has played a key role in my life as teacher, healer and guide, her powers and grounding energy nourishing my growth. Thus, the Landscape has been the source of much of my inspiration, it’s archetypal imagery a universal language.

I see my painting as a spiritual practice, not in any religious dogmatic sense, but my sense of spirituality is a sense of connectedness. To feel my presence as a part of nature, as both a witness and a participant in creation as it unfolds. For me, painting outdoors is a meditation, an opportunity to be in nature with focused and expanded awareness. I often experience a sense of expansion and awe, a humbling and an ecstatic joy. In many of my landscape paintings I represent this feeling by pitting the finite against the infinite expanse. My painting is a celebration of life energy, connection and the beauty of creation. If I am successful, I am able to convey this to those that experience my artwork. – That satisfaction we all seek, real happiness comes when we contact Beauty – Love, a universal force of attraction, like gravity. The place within where we are connected to Nature, to each-other, to our Selves.

As you can probably discern and as I always tell my students, I have no hard and fast “rules for painting” -in plein air or otherwise. I always have said, “In art there are no rules and no mistakes, only opportunities for growth and change”. Sometimes my painting in plein air is restricted to 2 or 3 hours or so in one spot. Whether this is self imposed or due to the location or particularly if it is in a Plein Air – Paint Out or competition. Such as the works: “Storm Moving In On Boston”, (View from Forbes House Museum) , painted in the morning and then, “Forbes House Museum”, painted in the afternoon. There are also works painted over the most of one day. if it is a cloudy, overcast, grey day, the colors pop, but the light doesn’t change all that much, thus alluring me into detail (“View of Hudson from Mill Street Loft”). Sometimes I’ll work on one piece two or more consecutive days, (“Purple in the Back”, “Hint of Autumn” or “Looking into the Falls”) or even a week or more returning to the same spot at the same time of day, (“View up River, the Boca”). Some of these also may include some glazing and retouching in the studio or additional time, (up to 20%), spent on details etc, and sometimes I’ll note these as, “plein air and the studio”, such is the case with, “From the Summit, View South”, in which I returned to the mountain top for 4 hours every morning for about 2 weeks, till the days became misty, then completed the work in the studio. In a few other instances, like “Standing on Fossils”, the work was simply sketched on the canvas in the field, then completed in the studio. Or a watercolor sketch is done on Fredrix all media watercolor canvas paint board then completed with oil in the studio.

I often explain to my students a simplification of 3 ways of approaching the landscape: The “traditional” way in the West is, we carry our studio into the field, sit by the mountain and the river/waterfall and paint what we see and experience. In the East, the artist would hike into the mountains, sit by the river/waterfall, meditate there, absorb the energy of the place, then return to the studio and create the painting eidetically. The third method, my preferred approach, is a combination of both. To me what is important is not to produce a photographic representation or even a likeness of a particular place, (although this often occurs). What is important is to convey the energy of a place and my experience of it, my sense of “sacred” connection, the experience of ‘Oneness with the Universe”, coming to the place where I AM pure awareness, that I often experience when I am in nature and/or in the process of creating art. If I can transfer that energy and experience into my canvas and then allow you to have a similar experience through the “energy field” of my canvas -then I feel I have been successful.

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Purple In The Back, (Our Backyard) 26x 72dpi Purple in the Back, (Plein Air in our Backyard),
Cobra water mixable oils on 18” x 24” Fredrix linen on board
 

This painting, Purple in the Back was painted in our back yard in Ashfield MA and done in 3 sittings of about 3 hours each.

Masla - Hint of Fall 14 x 72dpiHint of Autumn, Cobra water mixable oils on 18” x 24” Fredrix linen on board
Sold, Private Collection, Amherst, MA

The painting, Hint of Autumn  was painted on the end of Brown road near our home in Apple Valley, in Ashfield MA. Done in 3 sittings of about 3 hours each towards the end of summer.

Blinded By the Light,(Plein Air in San Pancho)1920p72dpi copySalt in the AirCobra water mixable oils on 8″ x 16” Fredrix all media plein air paint board

Monica and I had driven a little over an hour north of the Casa to the town of San Pancho, (1 town north of Salyulita). for my birthday. By the time we settled down on the beach and I got set up it was late afternoon, almost 4:00. I had about 2 hours to paint, there was a nice surf and a breeze and the light was directly infant of me, blinding me as it made its descent.

The American Falls, (Niagara) , oil on 8″ x 16″ canvas mounted on board
Sold, Private Collection, Albany, NY

“Looking into the Falls, (Niagara)”, oil and alkyd on canvas, 24″x36″

“Into the Mist, (Niagara – plein air and studio)”, oil and alkyd on canvas, 36″x 24″

These three canvas are among what I call my Niagara Series, (a couple of large paintings from this series is under Galleries/Landscapes/Studio). Besides being a spectacular and inspirational place, this was one of the most challenging places I have painted as I literally had to hold down with one hand my heavy French Easel with 24″x 36″ canvas while I mixed colors and painted with the other as billows of mist would lift it off the ground like a kite if I left it unattended too long.

“Storm Moving In On Boston”, (View from Forbes House Museum) (Plein-Air), Alkyd on board, 12″x20″ | Private Collection: Milton, MA

Farm on 112, plein air monochrome study72dpi copy

First Blossoms of Spring 8x72dpi

Inside Looking Out 6x72dpi copy