LarrySeiler
05-28-2002, 04:19 PM
Here's an example of my having worked an area for awhile. In this case, my routine is backwards. I visited this falls, "Twelve Foot Falls" in Marinette County, Wisconsin and took photos. From the photos I first did a realistic piece, 30" x 22" in acrylic on canvas....
http://www.wetcanvas.com/Community/images/28-May-2002/twelvefoot_falls_acrylic.jpg
Then, having trout fished it a few times...having taken more photos, I talked my wife into trying her second hand at plein air painting. So, roughly a year ago....she and I set up side by side, and this plein air is what I did.
http://www.wetcanvas.com/Community/images/28-May-2002/Spring_at_Twelve_Foot_Falls.jpg
some have seen this piece before...but my point of this is to talk a bit about the difference between work painted from life...and work painted from having experienced painting from life.
Now though my order is reversed here in this example, many work up larger paintings from oil sketches or plein airs. I guess it is proper to say the artist worked from life for sure....however, I know that it can be a bit intimidating for younger plein airists to gauge their own growth when looking at the larger work of other master artists claiming to paint from life.
Just be discerning enough and look at the wording. Very very rarely is it possible to pull off a 24" x 30" or larger plein air that comes off quite realistic unless first of all the artist is able to go back to the same spot day after day for 4-5 days in a row 'till it is finished. I know of only few places where the weather and lighting is such that that is even possible. Many scenes out west in big wide open sky country, do enjoy that kind of longevity for a painting experience.
Make sure when you are looking for growth in your own work that you give yourself a break when looking at the work of others. It would be nice to see for example, the plein airs of Clyde Aspevig. Now, maybe there are reasons Mr. Aspevig does NOT publically show his plein airs. One might be that we might be surprised how painterly, how expressive, how spontaneous they are as he sought to put down visual information for references. Perhaps his talent might come into question when compared to his larger wonderful painting scenes. That is, called into question only by those that do not understand the demands and challenges of plein air. Personally, understanding those demands...I think I would love best to see those of Aspevig's.
One thing I really loved about the Carl Rungius exhibit last year (111 pieces) was that hanging and displayed next to many of his very large wildlife paintings were the smaller 8" x 10" plein airs he did on location in the mountains. Simple, expressive...full of life and color. The obvious referral to those in his larger works was a study worth the trip to the museum alone.
Plein air is perhaps the closest thing I know of yet that puts painting on a level similar to athletics. A sporting event. There are challenges. Not for the faint of heart. While developing...use some sayings common around the athletic area to push yourself such as, "winners never quit, quitters never win!"....or, "you never fail 'till you quit trying!"
Viewers come in all sizes, and in all kinds. Some will only like the detailed more carefully valued tonal renderings such as my large one here. Some, being acquainted to aesthetics in the way some are aquainted with the finer points of athletics will understand a different bent on the rules that will make for a unique experience or challenge such as what comes with on location painting, or plein air. Main thing....have fun!!!
Larry
http://www.wetcanvas.com/Community/images/28-May-2002/twelvefoot_falls_acrylic.jpg
Then, having trout fished it a few times...having taken more photos, I talked my wife into trying her second hand at plein air painting. So, roughly a year ago....she and I set up side by side, and this plein air is what I did.
http://www.wetcanvas.com/Community/images/28-May-2002/Spring_at_Twelve_Foot_Falls.jpg
some have seen this piece before...but my point of this is to talk a bit about the difference between work painted from life...and work painted from having experienced painting from life.
Now though my order is reversed here in this example, many work up larger paintings from oil sketches or plein airs. I guess it is proper to say the artist worked from life for sure....however, I know that it can be a bit intimidating for younger plein airists to gauge their own growth when looking at the larger work of other master artists claiming to paint from life.
Just be discerning enough and look at the wording. Very very rarely is it possible to pull off a 24" x 30" or larger plein air that comes off quite realistic unless first of all the artist is able to go back to the same spot day after day for 4-5 days in a row 'till it is finished. I know of only few places where the weather and lighting is such that that is even possible. Many scenes out west in big wide open sky country, do enjoy that kind of longevity for a painting experience.
Make sure when you are looking for growth in your own work that you give yourself a break when looking at the work of others. It would be nice to see for example, the plein airs of Clyde Aspevig. Now, maybe there are reasons Mr. Aspevig does NOT publically show his plein airs. One might be that we might be surprised how painterly, how expressive, how spontaneous they are as he sought to put down visual information for references. Perhaps his talent might come into question when compared to his larger wonderful painting scenes. That is, called into question only by those that do not understand the demands and challenges of plein air. Personally, understanding those demands...I think I would love best to see those of Aspevig's.
One thing I really loved about the Carl Rungius exhibit last year (111 pieces) was that hanging and displayed next to many of his very large wildlife paintings were the smaller 8" x 10" plein airs he did on location in the mountains. Simple, expressive...full of life and color. The obvious referral to those in his larger works was a study worth the trip to the museum alone.
Plein air is perhaps the closest thing I know of yet that puts painting on a level similar to athletics. A sporting event. There are challenges. Not for the faint of heart. While developing...use some sayings common around the athletic area to push yourself such as, "winners never quit, quitters never win!"....or, "you never fail 'till you quit trying!"
Viewers come in all sizes, and in all kinds. Some will only like the detailed more carefully valued tonal renderings such as my large one here. Some, being acquainted to aesthetics in the way some are aquainted with the finer points of athletics will understand a different bent on the rules that will make for a unique experience or challenge such as what comes with on location painting, or plein air. Main thing....have fun!!!
Larry