Local Pond

                                                                                      (C) 2025 Dale DiMauro
 

Last night I managed to paint this watercolor of a local pond, a favorite on one of my walks. Recently, the pond has frozen over. As a matter of fact, I observed three people walk across it to reach the trails on the other side.

Locally, I don't think I have ever seen water this color. I may be wrong but it caught my attention as I walked by.

In mixing the pools of paint I used for this picture - I settled on a watered down sap green for the surface of the pond with a sepia tone for the edge of the distant shore. 

For this watercolor I used the thicker 300 lb Arches watercolor paper instead of my usual 140 lb block paper. I am even considering using this 300 lb paper for my next plein air painting as many artists consider this Arches paper ideal for painting outside. This paper doesn't tend to buckle and has a slower drying time allowing me to work the surface longer.

Merry Christmas & A Better New Year!

 

                                                                                  (C) 2025 Dale DiMauro

                                          

Happy Holidays to all! 

This was a five minute watercolor painting before preparing Christmas Eve dinner. It's always good to put something down. You can always come back to it later, if necessary.

The paper(140 lb) buckled as the picture-side was wet but I soaked the back before I laid it down on a protective board. It's all good as far as experimenting with your materials and fine-tuning your artistic process. 

I learn the most when I am unprepared for an outcome. After all, John Singer Sargent famously stated that 'painting in watercolor is making the most of an emergency'.

MORE TREES, PLEASE!

                                                                                  (C) 2025 Dale DiMauro
 

Trees command a presence in the landscape. They frames views into the larger scene and depict character like no other element in the landscape. Trees that shed their leaves every season turn an attractive color in fall and cast a lovely silhouette against the snow in winter.

I am saddened when someone cuts a mature tree down in their yard as it is such a loss to the community. In most cases it took years to reach the size it commands yet the loss of habitat and other environmental qualities such as their cooling affect in the summer or perches for birds, to sit on, is lost for some time. In addition, often people don't allow trees to reach their full potential or overcrowd other vegetation around them which forces constant pruning or removal.

Whether they are deciduous or evergreens, trees add so much to a painting. This tree was primarily painted with burnt sienna and pthalocyanine green with a little bit of ultramarine blue at the base of the foliage to add more depth.  

Often when I paint an evergreen I combine payne's gray with alizarin crimson and pthalocyanine green. This paint combination results in a cool dark green which is very soothing as a backdrop for some focal point.

Over time trees begin to change the contours of the landscape as their roots take hold and create micro-climates all unto themselves.

Anna Alma-Tadema

This past summer my wife and I made our annual pilgrimage to the Clark Art Museum in Williamstown, MA. The featured exhibit was titled, A Room of Her Own: Women Artists - Activists in Britain (1875 - 1945). 

Among the artwork was this watercolor painted by Anna Alma-Tadema (1867-1943), the daughter of well known painter, Sir Lawrence Alma-Tadema. She was a British artist and suffragette known for her painting of flowers, portraits, buildings, and interiors. The level of detail, accuracy, and painterly ability are stunning.

I searched for a postcard of this painting to purchase at the museum store but had no such luck. the photograph isn't perfect because the glass covering the image was reflective, creating shadows that don't exist in the actual watercolor.

For those who have not been to the Clark, it is a world class museum of the like you may see in an urban environment, yet it is situated in a picturesque rural setting.

 

Brattleboro(VT) Retreat Field

                                                                                      (C) 2025 Dale DiMauro
 

Odd enough, I don't walk through the Brattleboro, VT Retreat fields much in the summer but I definitely do in the winter months. Part of that is fear of too much tick activity in the summer time plus a more active schedule when the days are long.

I thought I would throw in a warmer season watercolor during this cold winter spell. This watercolor has richer coloration than this photograph depicts. Anyway, you can the vibrant greens of the early growing season.

I experimented with many newer painting techniques which may not all be to my benefit at this point. I dropped in much darker darks to depict the breaks and stronger shadows amongst the grass in this field. Also, I put in a dull dark wash in the foreground to express the heavy shadow from the nearby tree and highlight the sun on some grass blades in the foreground.

Today's Plein Air Painting

                                                                                         (C) 2025 Dale DiMauro
 

Winter in Vermont came back with a vengeance, shortly after the Thanksgiving holiday had passed. Not only did we receive our first snow storm of the season but harsh cold temperatures came with it. This includes icy road conditions and slick walkways.

With today's wintery mix of snow I resorted to painting from the comfort of my home. This watercolor was painted while I looked out of one of my windows.

It was a challenge as I hadn't painted a snow scene in some time, yet I had to get up to speed quickly. Ultimately, I didn't allow enough time as the darkness moved in quickly. The other issue is I tend to prefer a slightly different palette for painting snow. I use a greater range of blues such as cobalt blue and manganese as they can convey outdoor temperatures like no other pigments do.

There is a freshness in this scene which I have come to appreciate. Snow transforms the landscape and brings to light qualities which I only see on the shortest days of the year.

Winslow Homer Copy

The Museum of Fine Arts(MFA), in Boston, MA has the largest collection of Winslow Homer's(1836-1910) watercolors in the world. Their current exhibition titled, "Of Light and Air, Winslow Homer's Watercolors" runs from November 2, 2025 to January 19, 2026. This includes watercolors not seen by the public in over half a century.

I am more than eager to see this exhibition, even though, in the past, I may have seen many of these pictures in person. To see this large collection, at one venue, as a group will be quite impressive.

The other day when I was put on hold by my prescription drug company, clarifying my refill order, I started painting this figure made famous by Winslow Homer. As I waited on my phone and painted this image it seemed to come together for me. 

I have always admired Homer's depiction of outdoorsmen, as they seem so simple in execution yet so commanding in their posture. Ultimately, I find Winslow Homer's watercolor washes so direct yet simple and effective. They are not overworked or full of detail, yet true to the landscape in which the figure occupies

 

(Brattleboro) Retreat Field

                                                                                    (C) 2025 Dale DiMauro
 

Over time I have come to appreciate the low and long-shadowed light of November. If you are outside in the afternoon on a sunny day a bit before sundown the the natural light can at times cast a glow across the landscape. The newly fallen leaves lend warmth to this cold landscape.

This watercolor was painted with a plein air approach. I was locked in painting as direct as I could even though our heat pumps crashed two times in the last twenty four hours. Regardless, it was primarily painted in one session. 

This cornfield has the look of a golf course green. However, since the corn stalks were cut back I think we have had some moisture which the summer lacked with some sunny fall days. It is always pleasant to walk across this field as it is such a wide open space and take in any bird activity and the drama that the sea of clouds convey. 

Yesterday, we indeed, had our first snowstorm of the season, putting an abrupt ending to the outdoor season. However, the fresh snow has made the evening landscape much brighter which I appreciate.

Harris Hill Ski Jump

                                                                                            (C) 2025 Dale DiMauro         
 

Harris Hill Ski Jump in Brattleboro, VT is well known as one of the few locations on the east coast for long distance jumping. While it is primarily a volunteer-run event, it draws crowds of people from a great distance. 

There is much advanced preparation as the hill is only used one weekend a year. The rest of the year the property is part of a larger swath of land owned and operated by the Brattleboro Retreat Farm. The miles of trails are used daily by hikers, mountain bikers, cross-country skiers and dog walkers.

With mild weather the day before Thanksgiving, I sat on a stone wall at the base of the Harris Ski Jump and painted this in the mist and dew of the afternoon. I studied the umbers and ochers of the fall season as seen in this local landscape.

Neighborhood Park

                                                                                     (C) 2025 Dale DiMauro

At this time of year you have to take advantage of the sun when you can. I tried to fit in some painting as I went for a walk at the same time. It is to my benefit as I have a neighborhood park minutes away by foot.
 

However, it is getting challenging to paint outside as the temperature continues to drop. Nevertheless, I squeezed in some plein air painting on both Monday and this afternoon. This mild streak is a welcome reprieve from the dark, cloudy days of late.

I found a nice spot to situate myself out of the wind yet in the sun along a retaining wall. This way I could set up my equipment along the wall where I did not have to hold anything except for my paint brushes. 

I do like the quality of light as seen in this picture. But, boy do the shadows move in quickly.

Quick Watercolor

                                                                                       (C) 2025 Dale DiMauro

Warming up before painting in watercolor is an important practice. This loosens up the muscles and frees the mind. I do this nearly everyday. Also, it is necessary to let the pigments run into each other and to convey atmospheric affects.

After all, an artist is more likely to experiment before settling into the rigors of a larger painting. This watercolor was painted in fifteen minutes and it probably shows that. However, it is much more vibrant and expressive then some forty-hour paintings some people do. 

Only four pigments were used in this picture: ultramarine blue, cerulean, new gamboge and permanent rose.

Fall Color

                                                                                    (C) 2025 Dale DiMauro
 

Fall is that time of year when the leaves turn all those lovely colors, if the rain doesn't wash them all away. It is more important than anything to stop and notice these colors for what they are. There is so much variation of color within one canopy of one tree that it is mind boggling.

To achieve the colors I portrayed here my palette was pushed to levels not usually utilized. I used pigments of cadmium red and brilliant orange pretty much straight out of the tube. These pigments project a warmth throughout the picture which is quite pleasing.

This watercolor was painted on else ware, a 110 lb cold press watercolor paper I bought at my local food coop. To prevent buckling, I ripped this piece of paper out of a spiral-bound book and taped it to a board to keep it taught in the corners.

I like the overall feel and light of this picture. The darker marks in the foreground tree up by the branching were created by quick-snapping my rigger brush which offers the affect of dried out leaves and gives some weight to the tree.

STORMY SKY

                                      (C) 2025 Dale DiMauro

 

                                                                                                      Detail of sky

November weather is definitely challenging. Not many people linger outside for long when the winds pick up and the sun is hidden behind clouds.

Today, nevertheless, was a blustery experience to paint outside. The clouds raced across the sky and the wind dried my paint washes immediately. Having said that, I adapted by applying smaller washes and moving more frequently to different areas of the paper.

I perched on a stone plinth and painted this view of Wantastiquet Mountain from across the Connecticut River. The sky was put down first. I used cerulean, ultramarine blue, and paynes gray combined with a mister to get the pigments to blend into cloud-like forms. I feel that the colors you see were true to what I saw out in nature.

Today, I used only two brushes to paint what I did and I am proud of that. I think this is the best stormy sky I have ever painted. 

At times on your journey in life you take two steps forward and one backwards. Perhaps today was one of those days where I took a step backwards. However, I worked on three other watercolors this weekend so it is of no great loss to me.

P.S. - For some reason I had difficulty cropping the top photograph. 

Late Fall Watercolor Study

                                                                                   (C) 2025 Dale DiMauro

It seems like the most dramatic landscapes are found in autumn when the leaves have fallen. This is the time of year when everything slows down and the bare structures in the land reveal themselves.

The ochres and umbers of the landscape really become much more noticeable. In my travels I keep thinking how important these colors are to my palette. The blues and browns seem to compliment each other as the season of growth fades into our distant memory.

Also, this is the time when bird migrants are scrambling to find whatever food they can.

As a side note I put a wash of cerulean blue for the sky, yet it seems to fade in intensity with the browns dominating this picture. 
 

Brattleboro Common

                                                                                     (C) 2025 Dale DiMauro
 

Yesterday, was the pick of the weekend - weather wise. So I took a walk in the afternoon to find the sun and it was on the Brattleboro Common. I noticed how the fallen leaves from some of the trees opened a vista up the West River beyond the Brattleboro Retreat towards Black Mountain.

At this point I settled down to paint en plein air, until the darkness moved in. Sometimes the hardest decision, is indeed, to find that subject to commit time to.

I worked my way down the watercolor block painting from the sky to the leaf-covered lawn in the foreground. Many decisions were made rapidly - always aware of how wet the paper is in certain areas.

As the light faded and I looked up from my watercolor block I felt good about the decisions I made and in the time I had to utilize my skills.

Generally speaking, whenever I paint new techniques are tried. On this day I consciously tried to paint the tree trunks with irregular footings as I observed clumps of grass and uneven ground one of the characteristics of the scene.

(Brattleboro)Retreat Meadows

                                                                                             (C) 2025 Dale DiMauro
 

The late day light, at this time of year, is stunning. That is if it is a sunny day. But boy is it lovely.

Fortunately, for me, I have spent some time outside painting and have developed an eye for what to look for. I think with experience one builds a mental map of local areas to paint where you are not looking directly into the sun but can benefit from the glow projected on to the landscape. At this time of year it is of great value to be facing East as the setting sun fades into the darkness. The other cue is the birds know where to find the sun to bathe in. In fact, there were birds - I think Canadian geese in the foreground.

From the time I started this watercolor, until I packed up to go, the light changed so much and thus, the landscape was transforming before my eyes. This picture was cut short as I underestimated my painting session due to the time change.

All I could think of when painting this picture is that ice skaters may be here within the month.

On the Prowl

                                                                                                 (C) 2025 Dale DiMauro
 

At times, watercolor takes you where it wants to go. It can be best to follow through on the journey instead of rigidly resisting the movement of the wet pigment and overwork a scene.

I started this painting because I was experimenting by tweaking the classic paint combination of yellow ochre with burnt umber which results in a warm brown. Recently, in my walks through the landscape, at least in the light, I felt some variation of this pairing. As I put down a plant swatch, usually I end up turning it into a landscape, real - or imaginary. This way I can apply a 'swatch' to the landscape right then and there. Also, I end up with a mental/visual recording which I can refer to later.

As that warm colored ridge took shape, it was obvious to me that the left side of the composition was lacking substance - so on the spot - I dropped in the head of a figure. I think the figure adds an element of mystery as you don't know who he is or what he is doing - as most of his body is left out of the scene. Additionally, his presence, emphasizes the high contour. 

This watercolor was painted while my wife was feeding candy to young trick-or-treaters.

Brattleboro Common

                                                                                    (C) 2025 Dale DiMauro

The Brattleboro Common in Brattleboro, VT is such an inviting place, in the summer months, as it provides a lovely bosque of trees with all sorts of dappled light to perch under. I like to set up my painting equipment on one of their many picnic tables as an easel is not required which makes transporting my supplies much easier. This becomes most beneficial if a sudden downpour emerges. However, if well sited I can be spared of the raindrops from the lovely tree canopies.

This watercolor was painted after a late appointment, in downtown, on a September weekday. It was done quick as I was tired and had developed an appetite for dinner. It was painted on a Kilimanjaro bright white watercolor block that my mother gave me.

I do like the bold brush strokes and pure color in the foreground.

Crowell Lot(park)

                                                                                   (C) 2025 Dale DiMauro
 

The Crowell Lot is a lovely, yet spacious park in Brattleboro, Vt. It is more of a neighborhood park than a lot. It's characterized as having a nice playground, which the town has invested in and is thus well used by families with young children. In addition, the Crowell Lot has a popular basketball court - a favorite of young men. However, I have found no physical sign designating a name for this piece of public land in town.

This watercolor was painted outside late this afternoon. While outside it definitely had the feel that winter was coming as the low light faded fast and the wind increased.

It is customary to paint watercolors with the aid of a sponge and or paper towels. This way you can clean your brushes and catch any pooling of pigment. Well - today for some reason - I left behind any paper towels. For me I had to adapt and just carry on. 

This meant using the only tissue I had and shaking out the brush when necessary. Overall, I don't think the absence of a paper towel affected the outcome of this watercolor.

End of Summer

                                                                                               (C) 2025 Dale DiMauro
 

Sometimes you don't have to paint the sky. It's not always necessary. In fact, it can take away from the overall landscape.

In this composition I think that's the case. Even though the sky is left unpainted it feels to me like there is a weak wash of alizarin crimson laid down above the trees. Sometimes the mind puts something there when it is not. That's the influence of color.

However, I usually start by painting the sky and work my way down the paper and into the landscape. Recently, I have had some success by lifting pigment from the paper in the sky which can suggest clouds or streaks in the sky.

Nevertheless, this picture is all about the landscape. I think the blank top of the page adds to the serenity of the scene.