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Finding the Painting in the Landscape


After a long hiatus from plein air painting I had an opportunity to spend the day testing out my new 30 piece Basic Landscape Pastel Set from Terry Ludwig.  There was a thick coating of snow on the ground and I went looking for a building with character or a gestural tree to paint. The forecast called for a sunny winter day and I had visions of using the colorful palette to capture blue shadows stretching across a sparkling white field.  What I got instead was a sky of leaden gray that was the exact same value as the snow.  These conditions are common for my part of Michigan and create a subtle beauty.  We do not have awe inspiring landforms or grand great lakes in my corner of the state.

After driving around searching for inspiration I was getting frustrated. The gray sky and snow did not excite me and areas I wanted to get to had not been plowed.   I decided the only way I was going to get a painting that day was to change my attitude.  Rather than search for the perfect landscape to paint I would find the painting in the landscape by using visual language to create the composition.  Visual language is identifying a composition by shape, value, edge, and color.  You can read more about visual language in a previous blog post.

I pulled into the parking lot of a local state park and decided whatever scene was in the driver’s window would be the painting.   There was a lake surrounded by oak trees and brush. The sky and snow offered contrast to the rhythm of the trees and understory.  Color-wise the landscape was ishy.  The brightest colors belonged to the muted reds of the frozen oak leaves. Yellowish grass and greenish trunks complemented the red. The hills behind the lake receded into a dusty blue.   All those gray tones challenged the bright primary colors of the set and meant I would have to do a lot of mixing with the limited palette.  However, once I identified the big light dark pattern and the colors that would fit into those values I could get down to work.  You can see the steps below.

The scene from my drivers window.  I was wimpy and painted from the front seat of my Honda Fit.  It was cramped but I stayed warm.

  The set up: the box of Terry Ludwig Landscape Pastels fits nicely into my Easy-L box.  I brought along 3 extra lights for the snow.

Once the light/dark pattern is established I focus on the edges and how the values and colors transition into each other.

  Here is the finished painting.  "Try Out" 6x8 Pastel.  It is for sale in the "Little Gems" portfolio on my website.

Plein air is a test of an artist’s resolve.  Often what I envision painting when I set out is different than what reality offers.   The goal of the plein air painter is to find the painting in the landscape.

I will be teaching a plein air workshop in Toledo, Ohio called Finding the Painting in the Landscape.   The workshop will be held in August of 2014 and is hosted by the Toledo Arts Club which is located on the grounds of the beautiful Toledo Botanical Gardens.  Details will be posted on my website soon!

 

Comments

24 Responses to Finding the Painting in the Landscape

Another great lesson. I too spend endless hours looking for the "perfect" view. You've shown that any view can make a perfect painting. Thanks Vianna.

Glad you liked the post, Jill! I think this is a common malady among plein air painters, especially for those of us that live in less than awe inspiring surroundings. I spent some time out west last summer and was pleasantly surprised how easy it was to paint mountain vistas and big sky.

Here in Western New York, there's not much that will match the power of Big Sur or the Sierra Nevadas, or the majesty of the Grand Canyon, or the beauty of Laguna, or the dynamic history of the motifs of Gloucester.

We have dairy farms. We have some hills. We have some older colonial and Victorian homes.

So I've wrestled with this notion of being uninspired and constantly looking for more inspiring surroundings.

It is wholly possible to take any scene, as an artist, and turn it into something more painterly and artistic. Driving around sure can waste a lot of time.

I do agree that you can create something more magical by using artists talent and creativity. However, I would argue that starting with a scene that inspires you at the get go will result in a more moving painting most of the time.

I often take scenes that are less than inspirational and try to draw out their better qualities. It is a fantastic skill to try to develop.

But when you are standing at the cliffs of Big Sur or the Grand Canyon or Sedona, there's nothing like the raw condensed power and inspiration that is all around you.

I do practice "finding the landscape within" frequently and it is a fantastic skill to develop as I said above.

Your painting is done well. Love the design, love the feeling, love the edges and those couple touches of notes of blue and red.

Very well done and a great example of finding art in common vistas.

Thanks for sharing the post. I'm on my learning adventure still and practicing to develop as a painter. I appreciate your sharing what you did.

God bless!

Hello Vianna.. Thank you.

Really enjoyed this inspiring post and a great reminder to slow down and look around us. Something does not have to jump out at us to make a wonderful painting. It is in the interpretation. LOve your painting.

I love Terry Ludwig pastels! Have been thinking of buying his plein air landscape painting set. Just purchased two other sets...well, my husband bought them for me for Christmas.

Wishing you and yours a Happy, Healthy New Year.

Lovely painting - caught the spirit of the day.

Thank you, Robert, Sandy, and Bunty, I'm glad you liked the blog! Sandy, I am a big fan of Terry Ludwig pastels. They really are unlike any others on the market. The high saturation, the value range, and the shape make them an indispensable part of my work. I have had the privalage of teaching at his studio and seeing how they are made. Pastels are truly Terry's passion.

Robert, I agree that nothing beats the landscape of Big Sur or the vistas of the southwest. Those scenes practically paint themselves. It is nice to know that those of us that live in a majestic-challenged landscape all is not lost. What inspires one artist is ho-hum to another. Learning to look a the landscape as an orchestration of visual elements is helpful when the scenery is not cooperating.

Nice job Vianna! I also get frustrated hunting for that perfectly inspired subject matter. It's often not recognizable on a first glance, so I have to force myself to look slower and closer. Looking at it abstractly and deciding what shapes, values, color, etc. could be changed to make it work and start from there.
I also find that painting with a buddy helps me settle in finding a painting spot quicker, or I can roam endlessly :)
Sharon

Good word and beautiful painting! I admit I have trouble seeing beauty in grey winter and you helped me think about it differently. Thanks!

Painting buddies are the best, Sharon! Not only do they keep you from wandering aimlessly but it is inspiring to see what excites someone else in the landscape. So often when you and I have gone out painting I have thought, "Why did she choose that?" then, BAM,you knock out a winner. There is a lot to learn from a good painting buddy:)

Thank you, Ann! Objects that fade away on a sunny day become vibrant in overcast conditions. The gray days show off the most subtle colors. Tree trunks become a quilt of greens,reds, and violets, Raspberry canes practically glow red violet on cloudy days.


Thank you for your inspiring post. I do spend too much time looking for the right scene and end up going home frustrated. But what is funny to me is I will go back to the same place another time and find that I like the very scene I passed up before. I think as time goes by I get a little more educated and am able to see better what i can do with whats in front of me.

I have had the same thing happen, Susan. It is nice to know that landscape painting is only limited by our own vision.

Eye opening post. Thank you so much. I believe this new approach will help me as a painting newbie.

Your welcome, Pema, and good luck with your painting endeavors!

Vianna, thank you for this article. What some friends and I always use is the Richard Schmid 15 minute rule. You look for a subject no more than 15 minutes!

Debra

Thanks, Debra, that is a good rule to follow! I might even time myself during my next painting venture. John Singer Sargent was also known for not scouting out ideal painting spots. He was notorious for plopping his equipment down anywhere and composing a painting. One of my favorites of his, Homefields, was painted in this manner and the placement of the fence almost cutting the composition in half is astounding. Sometimes better compositions happen when we don't seek the perfect painting. Here is a link to the painting which is in the Detroit Institute of Arts. http://www.dia.org/object-info/3c412fa5-83c7-4051-ac12-297c28ca80ff.aspx?position=2

Thanks for sharing that painting. Love it! Great composition and trees! And I like that his shadow seems to be in it!

Isn't it something! In real life the painting glows, and your right that is his shadow in there. This is the painting that made me want to be an artist. As a kid I was fascinated how he captured the evening light in a field that looked like it was by my house. That is some powerful art!

Thank you for the link to DIA and the Sargent painting. Living on an island with no art museum makes on-line collections invaluable to me. And this discussion re: searching for the "perfect" landscape to paint is very relevant to me.

Glad you like it, Pema! I am very lucky to have the Detroit Institute of Arts nearby. I'll post some more of my favorite paintings in future posts!

Great post, Vianna! I love seeing how artists can make great paintings out of seemingly boring subjects. When I lived in Texas I could roam forever trying to find something that sparked me enough to start painting. That flat landscape was not very inspiring to me (but I did love those colors of the dead trees and grasses in winter). When I moved to California, I found myself roaming,too, but because I was so overwhelmed by all the possibilities! Debra, I may try Richard Schmid's 15 minute rule:) Thanks for sharing your frustrations, Vianna, and the beautiful end result!

Thank you, Daggi! I had the pleasure of visiting Big Sur last summer and had the same reaction. The landscape was overwhelming and surreal. Regardless of the landscape, flat and brown, or awe inspiring, our job as artists is to find a visual story to tell. I always enjoy how you crop your portraits to make them more interesting. With any subject matter what to leave out is just as important as what to put in.

I really identified with the gentleman from New York State; likewise we don't have the Teton's, etc. to inspire us here in Kentucky. But what has helped is carrying my digital SLR with a big zoom lens and a pair of binoculars when I travel looking for paintings. They let me crop down a scene to some interesting, paintable, subset of the view! Thanks so much for your post, it's inspiring and something we need to be reminded of!

Thanks, Dan. Digital cameras make a great viewfinder for the landscape. I like the idea of the binoculars too, thanks for sharing!


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