Late Fall in Brattleboro, VT

(C) 2017 Dale DiMauro

This is a watercolor I have been playing around with, here and there, over the last couple of weeks. I was struck by the russet fall colors this late in the season, in combination, with the long shadows. At this time of year the light is changing so rapidly I had to take a photograph before the landscape was all in shadow. I would have preferred to work in plein air except the temperature was dropping rapidly, too.

I came back to this after several days when it dawned on me I have a little used pigment on my palette which is needed to complete this picture. That color is called brown madder, which is a red. I applied it on some of the trees on the forest edge which added a richness it was lacking.

This photograph came out more on the orange side than the actual picture conveys.

Canaletto & the Art of Venice

Photograph taken from Canaletto(book)Author J.G. Link, Phaidon Press Limited, 1999

Yesterday, I found myself at the historic Latchis theater in downtown Brattleboro, VT. I walked down and saw the film titled: Canaletto & the Art of Venice. 

Canaletto(Giovanni Antonio Canal) was not known as a watercolor painter. He did carry out studies in pen, ink and wash, though. However, he was an extraordinary view painter with a skill unlike anyone else in his time. His advanced technical skills and knack for conveying atmospheric qualities make his paintings powerful. He was born in Venice, Italy, on October 28, 1697 and died in Venice, Italy, on April 19, 1768.

He painted urban scenes in Venice, along the canals, which are simply stunning. One observes that these landscapes are devoid of trees except for a rare specimen tree, badly misshapen by the elements and human existence. These paintings were primarily sold to tourists from England as the locals lived this landscape in their everyday lives and most likely could not afford them.

Whether he utilized a camera obscura or not as an aid in laying out the frame work for these paintings does not reduce the value of his work. In preparation for completing these large oil paintings, he filled his sketchbooks with impressive architectural drawings as studies, which some may have been done from the brow of a boat.

Unfortunately, with all his skill, labor and productivity he passed on poorly compensated.

Lunar black is .....the new orange....

(C) 2017 Dale DiMauro

In watercolor painting it is common not to use black as a pigment. Most artists often mix a combination of pigments which may include ultramarine, payne's gray and cadmium red among others, to arrive at a dark whether it on the warm or cool side. In the past I have used ivory black in the rarest of times primarily because the color is often flat and unexciting. In addition, neutral tint is a pleasing dark, but not a true black, right out of the tube.

Recently, I have been experimenting with lunar black. I find this black does not stain the paper, making it possible to lift color, is transparent and combines well with other pigments. As in this quick watercolor sketch, up by the figures, I combined cadmium red with lunar black arriving upon a rich, vibrant color.

After completing this sketch, I was struck by the quality of the light backlighting the figures. With the shadows projecting on the ground you can nearly feel the time of day and sun across their bodies.

Urban Landscape

(C) 2017 Dale DiMauro

Recently, I started this watercolor of an urban setting. It has all the qualities I usually do not paint. It has multiple walls and pavement. In fact, all the surfaces except the individual are hard. Clearly, there are no plants to be found here.

With that said, there is much appeal for me, in working on an urban landscape. The patterns, colors and textures of the various wall surfaces are endlessly fascinating. The shadows projected across the sidewalk and from the windowsill are full of life. They add dimension to the landscape.

However, the composition is truly about the individual. Once you put a figure in a painting the critical eye goes right to that area. Trying to capture the posture and how that person relates to the surrounding is an exciting moment. Just developing the form of the white shirt against the brick and skin tone is inspiring.

Sketchbook drawing

(C) 2017 Dale DiMauro

When possible I prefer to carry a sketchbook with me wherever I go. Even a simple sketch during lunch on a busy day keeps the mind thinking about potential compositions or the evolution of an idea. At the same time the hand is kept sharp through recording observations and experimenting with different media. Lately, for example, I keep thinking about doing more pen and ink studies.

In the late summer I picked up this sketch book by Canson. I am always experimenting with different papers. Some of my curiosity is simply based on the feel or texture of the paper.  Also, I am intrigued by how technology is changing both the preservation of works on paper and the paper available to use.

This new sketchbook, on the end cap, states that the paper will not turn yellow over time. How are they able to do this? In addition, more and more sketchbooks these days are made where the paper lays flat which was not the case in the recent past, particularly among bound books. Books which do not lay flat drive me nuts. Now that is an advancement that I truly can appreciate.

Eldridge Hardie

(C) 2017 Photograph Dale DiMauro

Several years ago, I purchased this used book, over the internet, titled: The Paintings of Eldridge Hardy: Art of a Life in Sport. There were not many available at the time but I am glad for acquiring it. It has become one of my favorite art books and I keep it at arm's length. 

What I admire about Eldridge Hardies' paintings are the small watercolors such as the one pictured above. There is usually a figure out in the landscape, fishing or hunting, perhaps with a dog. He captures the postures of the figures with simple elegance. His use of a simple watercolor palette enhances the composition. The paintings convey a directness of technique while utilizing the white of the paper to great effect. Often the sky will have a wash of blue with areas left unpainted suggesting clouds.

When I have time to paint outdoors and the weather is conducive to plein air painting I try to emulate the qualities that Eldridge captures in my own work.

Faces in the Crowd

(C) 2017 Drawing Dale DiMauro

When the World Series was on a few weeks ago I started drawing this portrait from a magazine photograph. The magazine has since been recycled so I do not know who took the photograph as to give credit where it is due. Nevertheless, the games ended up becoming such a lengthy affair that I completed this drawing in one sitting.

If I get the facial features relatively accurate in proportion, I feel like some quality about that individual has been captured which are not tangible. More specifically, an element of someone's spirit comes forth. To capture that quality or at least attempt to, with a single pencil and paper for me is exciting.

In drawing you can get straight to the point as it expresses the structural qualities of the face. I consider drawing my dry media as there is no clean-up required.

Along the Housatonic River

(C) 2017 Photograph Dale DiMauro

Yesterday, yet again, I traveled to Kent, Connecticut. This time to retrieve my painting at the conclusion of the North East Watercolor Society's 41st Annual International Open Exhibition.

I was struck by how beautiful the Housatonic River Valley is at this time of year. On route seven, which meanders along the river, vistas of rolling fields, distant hills, and even the Berkshires come into and out of view. Upon arriving into Kent, the sun had begun to blanket the fall landscape with a combination of ochre, sienna and tawny colors. Even the cross roads had stately specimens in full color, whether an oak or maple. 

Out in the landscape I felt as if I was a small figure moving across the canvas in an Eric Sloane painting, who was a local resident and well known artist.

The fly fisherman I posted on October 18th, was once again alive in the center of the river with waist high waders as I drove past. I truly wanted to take a photograph of this iconic scene but there was no place to safely pull over.

Keene reservoir & park

(C) 2017 Dale DiMauro

Some how I had a mix up this afternoon. I drove to Keene, NH for a one o'clock appointment but the people I expected to meet were not there. After eating lunch I decided to start a plein air painting to overcome my disappointing afternoon.  

At the end of summer I had discovered this park wrapped around a reservoir off a steep hill. I was able to spread my stuff out on a park bench and work on capturing the late fall color. The photograph does not do it justice, as I felt the picture got off to a great start. Just before leaving I took a photograph so it can be finished at home. 

Originally, I was taken by the stately tree, fall foliage and slope of the land down toward the water. What fascinates me are the marks created where there is a lack of paint.