Painting in Milan

the sketch for "Italian campagna"



the painting (of same)



A composition study for a painting on the risorgimento...influenced by Milanese style.



oil sketch for "Garibaldi"

Paiting in Rome -- Part 2

Establishing the "macchia" takes concentration and attention to spatial relationships.



painting directly on white canvas from the color pool enhances color clarity and allows for more freedom of expression and color mixing on the fly.



As per usual, looking for strong 2-value contrasts simplifies the task while you sketching, especially in unfamiliar locations.



Keeping a sketchpad for small thumbnails is a good way to set down notes for paintings to be completed (or at least started) in the studio.

Here I have been very fortunate to have a studio based in the Gianicolo. Here is a picture of our apartment building followed by a painting made from th studio window.





That last one was on canvas paper. Do you remember me discussing "painting as discovery" ?? Well here it just happened -- using poppy oil alone without any thinner. The paint is very fluid and dries fast. Who would have thunk it?

Painting in Roma Al Fresco

Painting for me has always been based on "discovery." Especially when I have been traveling and away from the paint brush for several weeks, I "forget" how to paint, in a sense, and have to rev my engine for a while before I can accomplish anything.

The "remembering" process always, at least for me, begins with the macchia and establishing patterns, usually drawing with the brush.


"Macchia Uno"


"Macchia Due"

Here at the American Academy, it is customary to leave a small self-portrait for exhibit at the bar. I have been working pretty casually on one for the past week. I have some changes to make but here is what I have so far:



As you can see, it needs some color which I intend to add after it dries a bit. I am using terpentine and poppy oil as an experiment. The local art store had poppy oil which I have wanted to use for some time now. So I went for it. It takes a little getting used to. It is thicker than linseed oil but shows brushstrokes a bit more dramatically.

As per usual, my interests focus on the "veduta" or distant view. More on this soon.

Gesture and Figuratives

Try to begin your figure studies with gesture and abstraction:



Pay attention to 4-value macchia principle:



In your landscapes, the same ideas hold true:



Maintain fluidity and expressiveness:



Next report: from Milano

University of Oregon Demo This Saturday

The talk at the U of O Bookstore will be a two-hour demo and discussion of theory. As the painting above hopefully shows, painting with creative brushwork and gesture is more than just technique but is often the means necessary to unite the particular and the general and to explore, experimentally, the art of seeing nature.

painting table:

pittore: Getting Ready for Studio Tour Sale

pittore: Getting Ready for Studio Tour Sale

Getting Ready for Studio Tour Sale

Regarding going from the onsite sketch to the in-studio painting:


"Waving Hands Like Clouds", oil/canvas 2010

Description: This one is a bit complicated. I intended the painting to maintain the essence of the sketch, that is opposing hills and a distant valley, shown in linear perspective but the sky took on a strong dramatic energy with clouds and atmosphere. This is also conveyed through color (violet). I titled the painting "Wave hands like clouds" after the tai chi movement with that exact name.

Here (below) I am returning, for a moment anyway, to the "macchia" concept (or pattern) which is applied in sienna:



This is very characteristic of my work which often just plays with this macchia idea and then, perhaps, a slight note of color. But color can also become the principal consideration as in this landscape of Italy:



But the macchia concept can also be approached in color itself with a proper underpainting in sienna -- sometimes a bit darker to bring out the macchia painted on top in pure color. My goal, in this instance, was pure sponteneity to convey the fresh spirit of the sunlight and the scene:



Sometimes the color of green has to be carefully calculated to convey the warmth of summer and the feeling of being outside, among the :

Use gesture sketching to speak the language of landscape

Here is an event coming up at the U of O Bookstore in Eugene. You might want to mark your calendars.

Some students from the workshop have been asking me for some post-Workshop coaching. My first advise is to develop your "language" capabilities visa vi landscape by sketching in soft pencil or charcoal. Here are some examples. Make sure you are sketching everyday prior to painting.

Workshop Recap and Self-Critique

"Coburg Hills" (2010)

A landscape should exhibit a profound structure, mostly based on value transitions, not just pretty colors. I am pleased with this painting that approaches such structural forms.



"From Eagle's Vantagepoint" (Workshop retreat, 2010)
self-critique: Some nice value transitions at top of painting but mountain lacks the structural forms in the first painting.



"View from Up Top" (Workshop retreat, 2010)
self-critique: ditto



"Demo piece" (Workshop retreat, 2010)
self-critique: a ligher key, lovely colors and forms, very fresh and spontaneous but not much structure. View had little opportunity for perspective.



"Demo piece" (workshop retreat, 2010)
self-critique: this one is barely started but was intended to demo use of big brush to block in shapes.


"Demo piece" (workshop retreat, 2010)
self-critique: shapes maybe too central. Also just getting started but shows use of big brush to indicate colors and forms in gestural fashion.



"demo piece" (Workshop retreat, 2010)
self-critique: demo of painting a landscape from imagination. Lacks plein air authenticity but result is still somehow satisfying in capture of memory of strong color and value contrasts.

Note: some of these paintings can be seen (and purchased) at Soriah's restaurant on 13th this month (September, 2010).

Fishing and Painting -- Getting Ready for Weekend

We will be discussing color theory. There will be a very quick review of the principles of composition and the value studies we have been doing. I will talk about the need for doing color macchie. Then onto color theory in depth.



"Imaginary Landscape" 2010



"Loiano, Italy" 2010

Agenda:

1. Use and mix complements correctly
2. Understand values and saturations for various hues
3. Use color in greys and middle values
4. Identify and use color harmonies
5. Use special color techniques to enhance a painting

Fishing and Painting -- Part 2

"View From Angel Flight Road" (2009)

August 23rd: Preparation for Next Weekend's Fishing and Painting Workshop:

Review and Assignment: We emphasized composition and "macchia" or pattern during our first weekend. Please continue to create macchia (both mass and line) and exporatory drawing with the large brush. Example:



Note: This can also be done in a very subtle way. Keeping the pure sienna color and going light (mix sienna with white) and spending more time drawing until your composition and "concept" comes through. Example:



Practice: Keep trying to use color pool mixing. Use the palette knife or brush to "drag" colors into one another as shown:



We also talked about the importance of studying "old" masters like Constable and the need to strike a balance between realism and abstraction. Here is one of my Constable studies:



Try some line macchie:



Or attempt a line macchia and then add some watercolor notes for colors as shown below in this example;



Some quick work done last weekend:



"View From Up High", finished in studio from plein air notes (2010)

We will focus on color next weekend!

"View from Y-Fork Road" (2010)


"Mount Pisgah" (2010)