Acrylic- Dead River Basin

[LarrySeiler]

I've done most of my landscapes the past year or so in oils, but current gallery demands saw me pulling my acrylics out today. I need a few smaller pieces...and this one 8"x10"

I did it in about three hours. The painting was not nearly as difficult as trying to edit the digital image so that it most resembled the actual work. I guess I can only purport that the original is better than these. Any way...I also include a ready made frame I order, finishing the piece and slapping the frame on.

This was from a scene of the river our cabin in the upper peninsula of Michigan is on. Spent all of last week there...and plan on a good many more yet this summer. :D -Larry

http://www.wetcanvas.com/Community/images/26-Jun-2001/deadriver_basinwc.jpg


http://www.wetcanvas.com/Community/images/26-Jun-2001/deadriver_framedwc.jpg

[scottb]

Nice, Larry. Did you do this plein air or studio?

I wish I had the patience to execute color the way you do. I am envious. I just can't do it. I've tried, but my demeanor in life won't allow it right now. :-(

Was this canvas or board?

Cheers.
Scott

[LarrySeiler]

Hey Scott...

it was totally in-studio, however...after having an aesthetic week taking digital photos, out in the boat half each day fishing... taking in the environment, etc;

I put up a digital image on my computer and set a table top easel next to me with a gessoed masonite panel for a support. I try now, even when painting in-studio to strive for a spontaneity and immediacy. I'm learning to lay ground rules down for myself and paint within that strict mode.

Its so easy in-studio to touch this up, that up...paint this out, work that back in. Actually...I am getting to the point where I think it is easier and preferrable by far to paint on location. I actually paint faster with nature setting the limits.

One advantage I had spending all of last week in Michigan's UP, is that I was not at all satisfied with the color and mood of the digital image. So....I used photoshop to adjust the photo until it reflected what I remember seeing. Then...I limited myself to less than three hours.

Ordinarily...I would take 2 hours or less outdoors, but in-studio also come the distractions. You know, the spouse....the phone, etc;

Thanks for the kind comments on color. If you are struggling to nail that down in a satisfying manner....its rather obvious I'm sure to all that you are one heck of a busy guy! ITs a time thing. How often you can attend to it. Puttin' paint down and pushin' it around in any style while having all of us here on WC goin', "um...oh SSscccooOOottt!!!! Scott??? Help!!!!" has to be a challenge in and of itself! take care.....

Larry

[Yorky]

Great picture, Larry

I particularly admire the reflections and the colour contrasts.

Doug

[Robert]

Have to echo Yorky on the reflections! Nice work. I also like the suggestive treatment of the trunks in the background trees.

What size brush do you use to get those little skymarks on the treeline?

[LarrySeiler]

Thanks Doug and Bob.....

I guess to <i>my shame</i> I'll admit to using a small #2 round synthetic on that part. I say to my shame, because I haven't had to revert to any kind of detail brush in a long long time.

I try to stay away from small brushes which tend to make it easy to paint literal detail rather than suggest it. In my experience, for my work....it requires more mastery of the craft to create the illusion than the literal.

I've used the tip of my palette knife, or the edge of a bristle. Most will tell you that you use the largest brush possible for the smallest mark. That's learning control.

This is also the first piece I've done in doors in along time, and I was really aware how much painting on location influences me now. I found myself arguing with the past. What I "could" do with the picture as a reference sitting in front of me kept gettin' shut down with what I wanted as an effect. I wanted the piece to have a look as though painted outdoors. Thus, though the picture was there...I found myself going deep inside and recalling the "feeling" being there had upon me. Colors seem richer at that level.

Unfortunately, the darker blue-greens and violets in the shadows of th efoilage to the right did not come out and make their presence known in this digital upload. The original is darker there, but still allows suggestion of foilage to be seen more than it shows here.

Larry

[Leaflin]

Great piece Larry.
Thanks for showing it framed.
More 'finished' look.

[LarrySeiler]

Thanks for taking time to look.....
even artists with experience enjoy the feedback and are likely to value from it. I just appreciate everyone's indulgence.

Larry

[blondheim12]

Great painting Larry!!!!
Linda

[LarrySeiler]

thanks Linda.....appreciate that coming from you! A good eye that recognizes another.
peace,

Larry

[YLCIA]

Wonderful painting! I love it!

[sandge]

Great job, Larry!

Thanks for posting it framed, too. That frame really works with this picture - it seems to come alive more or have extra sparkle.

:D

[Bettypine]

Very tranquil landscape. I bet the original is beutiful indeed showing the textures and true colours.

Mine come out the opposite, they always look better on the computer than real life viewing.

[LarrySeiler]

Originally posted by sandrafletcher
Great job, Larry!

Thanks for posting it framed, too. That frame really works with this picture - it seems to come alive more or have extra sparkle.

:D

I should add, that this is one of the ready made frames I ordered based on some suggestions here on Wetcanvas. Wholesale Art & Frame LTD came out with a bunch of newer wider very classy frames which I think will be very nice for plein airs. A 4" wide frame for about $16....

I brought a half-dozen pieces into a gallery a couple weeks ago, and the impression from the frame's appearances is that I must have paid a good price for them. They do look classy.

Larry

[animal]

Awesome! :cool:

I especially like the textures of the trees and the way you have done the water. I also like the colours you have used.:clap:

[dduchene]

Beautifully painted larry..that water looks extremely inviting. The punch of the contrasts is especially well crafted.
Ain't digitals great??
I haven't touched my 35mm in months.

Darrell

[LarrySeiler]

Thanks Animal....

I've been gone for a few weeks, in for maybe a couple days, then I was gone again. An arts/music festival, a gig with my band, and family up from Florida and Utah down near Green Bay.

Sorta nice to be back home, but...I have about a dozen paintings I'd like to paint before a show during the 4th of August. I'm ordering frames ahead of time in preparation.

Larry

[LDianeJohnson]

"Dead" River Basin? You've made it come alive. Strong piece Larry. Whether oil or acrylic, you play the same beautiful music with both!

D.

[LarrySeiler]

Thanks Darrell and Diane....appreciate the comments!

So, a question Diane...

I am going to do about a half-dozen 5" x 7" acrylic landscapes with 3-1/2 to 4" wide ornate frames...for a show and gallery coming up in less than two weeks. I don't make a practice of such...but, they would nearly be for sure sales which the gallery is interested in. Though, my many 12" x 16" pieces still would be considered small by many folks estimation.

You know that our plein air group frowns on small pieces like this, as I said, I probably won't make a habit of it...but, was curious as to your take on it. Thought I'd ask here as well as anywhere as it might be insightful for others reading along.

In case some are wondering what the problem is, there is a consensus among some professional landscape painters that paintings of such size are not serious paintings and in fact work to impede the painting process. Thanks...

Larry

[LDianeJohnson]

Hi Larry,

Good timing! I just completed reading some things in relation to the plein air size issue. I never realized it was an issue.

My take is this...actually a few things...

One, a good, finished painting is a good, finished painting, no matter it's size. Whether tight or painterly, if it is fine work, 'nuf said. Two, if a work is not of value or is considered a sketch just because it is below a certain canvas size, I take issue with this concept. And three, what do you do with the masters of the miniature?

Perhaps I am naive because I have not heard anything until now about "official" sizes accepted by plein air painting. Like you, I've been a professional for a great many years. Plagued by instructors and subjective "rules" that attempted to put me in a box of sorts. Much of the time I still feel the pressure to conform. Even with this issue, now all of a sudden, I feel pressured to paint the way someone thinks I should. (It is difficult for me not to conform.) I will probably try to paint larger in the field even though I painted large for years and it's taken me several years to downsize to paint en plein air.

Then there is the small painting/large frame debate which comes from framers and artists alike. If a small painting looks nice with a particular large frame why not? What about the other extreme, that of placing a simple metal frame around a large painting? I know much about "appropriate" framing, after doing it for so long. But once you know the "guidelines", personal preference, and style kicks in.

Then there is the "are you going to paint for the market?" debate. Galleries, collectors, artists, and just about everyone has input as to how you should be painting...please paint larger, please paint smaller, please paint landscapes with figures, please paint lighter paintings, please paint looser, please paint tighter, and on it goes. Many times these suggestions are good, and we should remain open to possibilities. But, YOU (rhetorically speaking) are the artist. Your integrity is what is important, not the whim of opinion. If you like doing small pieces with large frames for whatever reason, it IS ok.

For example, I have taken a three year break from painting exclusively in pastels in lieu of getting back to acrylic and oil for a time. A panic is in the air from outside when I change my mode, style, subject, or framing. That panic is hard to ignore, but if I feel my work was getting tired and I need a change, I have am compelled to change direction.

Larry, the pieces you are preparing as I see it, have the same level of quality as the rest of your work. I wish you all the best with the upcoming show! Who knows, you may become well known for your spectacular "little" plein air paintings! :)

Diane

[LarrySeiler]

appreciate your thoughts and admonishments Diane! Thanks much. I take them to heart seriously!

As I attempted to explain my position once before to such people...I'd like to see some of the "I paint only large on location paintings" people set up in the dense midwest fauna that I often do...with Canadian fronts that never guarantee a clear day, or that the sun will be anything like it was from day to day. Not to mention many painting outings for me are major hikings off the beaten path, and getting back for the convenience of finishing a large piece a nerve racking proposition.

Of course the fear is that such confined small applications of paint and the brush will lead to paralyze efforts to work larger.

I haven't really felt that yet personally, but in all honesty I don't have much demand here in the midwest to do 36" x 48" canvases. I could only hope for that change. Take care,

Larry

[LDianeJohnson]

Sure thing Larry,

I'd like to see some of the "I paint only large on location paintings" people set up in the dense midwest fauna that I often do...

Yes, overly large surfaces in remote places are tough. And when I am at a location that I will only be in for 1-2 hrs (not be able to return), it's difficult to do an admirable job or complete a piece if it is overly large, thus guaranteeing I must finish in the studio instead of in the field.

Of course the fear is that such confined small applications of paint and the brush will lead to paralyze efforts to work larger.

Agreed. It is difficult to go "large" after painting small over a long period. It can be done, but the transition takes time.

... I don't have much demand here in the midwest to do 36" x 48" canvases.

An absolute consideration.

See U,
D.

(Will be away till Thursday.)

[blondheim12]

Larry,
I too read the discourse on small paintings in the plein air email and frankly, I am not willing to be dictated to by anyone's arbitrary rules. I do many small 4x6 to 8x10 inch paintings on site and I feel they are good paintings, well worth the price I get for them. To each his own, but i feel there is a great deal of snobbery among plein air groups that I don't care for.
I paint what I like, when and where I like and that's that, as far as I am concerned. I do what I like and am lucky enough to make a living that way and that is good enough for me and the clients who like my work.
Nuff said!!!!!
Linda

[LarrySeiler]

appreciate your point of view, Linda...thanks!

I guess that when groups first form, they face a tough road for recognition. The solidarity and effort brings the group to see a cause finally understood, and in retrospect begin to dictate specifics to protect what they feel they've earned.

I can understand those dynamics, but it can easily turn as you've said...to "snobbery"...and is unfortunate especially where talent and worth is assessed.

Larry