Watercolor doodles

(C) 2018 Dale DiMauro

Before I dive into a painting, especially, if I have not painted for a few days, it is a good practice to loosen up with some watercolor doodles. I start by cutting a half sheet of watercolor paper down into postcard-sized pieces. This way I have a test sheet for mixing pigments of watercolor. At this point I sketch out a simple landscape, for example, and consider how I want to go forward. Not only do I play with new paint combinations but I experiment with different techniques such as dragging the brush across the tooth of the paper.

My wife saw a building along the shore in the top landscape. However, you may not see that. Other times there are marks on the paper that I incorporate into an image.

These watercolor doodles inspire me to develop a painting in ways I had not anticipated. These little studies can be done quickly, yet I can come back to them at a later point for reference or inspiration. Other times I lift paint to reveal the glare of the water.

Academic Artists Association

(C) 2018 Dale DiMauro

Recently, I was accepted into the prestigious Academic Artists Association's 68th Annual National Exhibition. This exhibition was held at the Arts Center East in Vernon, Connecticut from May 6 - 25, 2018. 

Yesterday I drove down to retrieve my painting at the conclusion of the exhibition. I was fortunate to have had my painting driven down by others, prior to the opening, as I had a conflicting work schedule. Thus, it was my turn to pickup several paintings from artists who live nearby, in southern Vermont.

However, it was a challenging trip as the temperature gauge in my car hovered around 94 degrees most of the ride. When I committed to this task I did not fully comprehend driving on one of the busiest weekends of the summer season, or at least it felt like summer. Regardless, the quality of the work on exhibit and the exhibit space itself, are top notch.

South Pond Plein Air

(C) 2018 Dale DiMauro

This is a plein air I did late last summer. This was inspired from many excursions to South Pond either to swim or paddle. It is such a lovely body of water with clear, clean water and wildlife.

I am re-posting this image as we head into the first long weekend of the summer season. These days when I think of a Vermont summer I think of South Pond. It is also one of my favorite plein air locations.

Looking back at this watercolor I like the combination of the greens and browns. There is a refreshing quality to this subdued color spectrum.

Don't forget your greens

(C) 2018 Dale DiMauro

Recently, I went on two kayak outings in southern Vermont. One was at Lowell Lake, a gem of a paddle on such a beautiful body of water with clear, clean water and islands to boot. The other paddle was with the current on the Connecticut River. After paddling on ponds and small lakes over the last year, the Connecticut River seemed huge. Almost the feel of a small ocean. It took some effort to cross the river with it's moving water and obstacles of fallen trees and rocks just below and above the surface etc.

The overall feeling both paddles left in my psyche is the richness of the color of green at this time of year. Not only has the foliage come out in abundance recently, but we are surrounded by warm and cool greens every where we go. After all it is the Green Mountain State.

With the influence of green on my mind I have been experimenting by painting several verdant landscapes. I have been playing with the tooth of the paper to create atmospheric affects as well as utilizing different green combinations. This is an imaginary landscape drawn from my recent experience out on the water.

Edgar Degas

Photograph by Dale DiMauro

Last month when my wife and I visited Philadelphia, PA, we saw this on exhibit at the Barnes Foundation. This of course, is an Edgar Degas(1834-1917) oil pastel, titled Group of Dancers. created around 1900. 

The striking color, sense of movement and concentration of the dancers drew my attention. The dancers activity carries right off the paper, or board in this case. When I learned that this oil pastel consists of three pieces of paper pieced together and adhered overall to a thin paper board, for me, it symbolized the energy in the room. 

Unless Degas had models to draw from it can be quite challenging to capture the postures of dancers who constantly are on the move. Nevertheless, I love the wash of color.

Watercolor on the go

(C) 2018 Dale DiMauro

As the weather continues to get nicer and nicer it will soon be time to plein air paint again. To that end, I purchased this watercolor field journal so I can paint on the go. I just created this scene to see how this paper handles water and pigments.

I find the act of painting, even if my time is limited, on a smaller scale, to be quite rewarding. It seems like every time I paint, something is learned and my approach varies depending on the situation. Thus, I am more open to experimenting and freer in my techniques.

This watercolor journal made with Fluid watercolor paper does not seem to buckle even though I used wet washes on wet paper. As a result, I was quite impressed with this paper. Most watercolor paper, even heavier sheets, from my experience, will buckle some. 

As far as I am concerned anything that makes plein ar painting as simple and rewarding as possible is a plus. Working outside in the elements with the changing light can be quite challenging as it is.

Portrait studies

(C) 2018 Dale DiMauro

For some time I have been attempting to become skilled at depicting the human being whether specific to an individual or not. Drawing the human form is one of the most complicated subjects an artist can take on.

This watercolor I worked on over the winter. In the fall I began toning most of my portrait pieces prior to digging in with other pigments. I often use some form of yellow, whether quinacridone gold or cadmium yellow for this paper staining as it reveals a warmth to the scene or subject.   

If I have learned anything in studying the human face it is the importance of getting the proportions  correct. These facial features such as the eyes and nose etc., when well-placed, begin to reveal our expressions or an internal element, beyond our physical presence.           

CEZANNE

Photograph Dale DiMauro

Paul Cezanne(1839-1906) was a noted french artist and post impressionistic painter. Like many of the great artists of the past, his last name is legendary in of itself.

Recently, I have been viewing his work and life with a fresh lens. Not only did I study many of his paintings at the Barnes Foundation, in Philadelphia, PA, but I viewed the film Cezanne, Portraits of Life, at my local theater. 

While I recognize his characteristic brush strokes and color, it is his still life's and landscapes that I most admire. There is something simple, yet mesmerizing about his compositions of fruit. I cannot think of another artist which makes your eye move across the canvas in such an organic manner as Cezanne. From my experience, there is great harmony in both the color and arrangement of the fruit.

This painting, titled Ginger Jar, is on display at the Barnes Foundation. It was painted in oil on canvas around 1895.

As a side note, my wife and I noticed more watercolors on exhibit at the Barnes Foundation then we usually see at museums. It is known that watercolor paintings are sensitive to light. However, I recall in particular, seeing a watercolor by Mary Cassatt. 

Finished & Signed

(C) 2018 Dale DiMauro

With the help of Gerarde Doucette, my art mentor, this watercolor is finished. The shadows in the foreground were simplified and edged in a way to make the contours of the snow suggest shape. It was more about extending the values than adding any color. This simply makes the land more legible.

On such a hot spring day as today it feels refreshing for me to look at this watercolor. The composition conveys a calming quality. I don't know if it is sun on the tree trunks and snow or the space between the trees.

Where to sign a painting and with which color is a challenge in of itself at times. I chose a sepia as a color which echoes the values in the tree trunks for signing my name. It was also signed in the shadows as not to compete with the light on the snow.