Taking November... For What It Can Become

Normally... November causes a nose dive for most artists with its sudden drabness and loss of "high" colour. Add to these creative deficits...  the unpredictable nature of November weather and disorienting light change and you are suddenly brought  face-to-face with the annual causes of the "retreat to the studio" strategy...  or painting paralysis which grips a large number of members of plein air enthusiasts.

The strange notion of actually painting out in the cold of winter is embraced by only a few of the hardiest... or should I add craziest of individuals. I am a member... whichever view you might hold. For me... the muted (fall only) palette of russets... deep golds and tawny browns and umbers offers an opportunity to paint softly... plucking upon lost n' found edges while striking a fuller chord when contrasting shapes and colour  can be found and inserted for effect.

Rather than complain about the absence of brighter colour found in earlier fall landscape settings... I search out the rich palette mentioned above when juxtaposed to a point or shape of distinct contrast such as the examples found in these three sketches that I made over two days... within fifty yards of our residence in the village. I could just have easily chosen another dozen more from within the same distance.

I could just have easily taken digital references for these ... and most likely would have achieved a finer state of finish... in my own terms of reference... a painting. With many years of painting en plein air under one's belt, one learns much about the act of "seeing". That is to say... understanding how much more fully that shape, colour and atmosphere can be manipulated and interpreted to create "realism"... but at the same time be painterly and impressionistic.

At this juncture, where practice and process converge... one can easily carry that learning back into the studio, using it to paint in a fairly similar fashion. So convincingly perhaps... that the untrained eye might not be able to readily discern the difference. And should that really matter? I think not. It merely comes down to choice... and a personal level of artistic comfort. Painting en plein air is but one approach and tool of many... to enable artistic growth and development. Painting for pure pleasure and enjoyment should always be primary goals for any artist in my mind.

Here are four sketches that I made this past week All but one are plein air products. Can you identify the "trickster" that masquerades as a fully blown plein air sketch? Wanna take the plein air challenge???? I'd love to hear from you.... just curious!

PS The sketches are randomly ordered

Good Painting to ALL.... Inside or Out!!!

#1 "Beloved Fish Point" -oil on panel 8x10 inches

#2 November... Directly South of Rockport" - oil on canvas 6x12 inches

#3 "Home... Is Where the Heart Is" - oil on canvas 10x8 inches

#4 "Autumn Sunbathing Barns" oil on panel 8x10 inches