This Friday, October 4, 2019 through January 12, 2020 there is a major exhibit of N.C. Wyeth's paintings at the Portland Museum of Art, in Portland, Maine. I have read where Wyeth's work has not been displayed on this scale in over fifty years. This reflects a renewed interest by the general public in his art. This traveling show originated at the Brandywine Museum of Art in Chadd's Ford, Pennsylvania.
N.C. Wyeth is known for his illustrative work. These include the Scribner's Illustrated Classics such as The Last of the Mohicans dating from the early nineteen hundreds. He painted on a large scale, in murals, rugged individuals as well as lovely landscape paintings of Chadd's Ford, PA and along the coast of Maine where he lived.
Personally, I admired how he captured the postures of the individual's he depicted. Whether they were riding a horse or working the family farm.
When I was at the Clark Art Museum during the Summer, I purchased the catalog N.C. Wyeth: New Perspectives(published by the Brandywine River Museum of Art and the Portland Museum of Art in association with Yale University Press, New Haven and London).
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| (C) 2019 Dale DiMauro |
My wife and I stayed one night during our Summer vacation in a lovely inn with a stunning view of the Atlantic Ocean. A short drive to where the beach was led us to these lovely wetlands. As it was late in the day, the green heads were out. Green heads are these aggressive, biting insects. I was reassured in a few days they would all be gone.
Since coming down with flu-like symptoms on Monday I was surprised I had any energy to paint this watercolor. It reminds me of some of those lovely British watercolors you might see in the 20th century featuring browns and greens in the landscape. These watercolors are characterized by the use of muted colors, flat light and soft edges.
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| (C) 2019 Dale DiMauro |
Recently, I started painting on Fabriano Artistico paper. In particular, I like their soft press paper which is between a hot and cold press in texture. It does not seem to look all that special in your hand but when you drag the brush across the paper you can get this rich gradation of color. I do not have much experience with this paper but I continue to experiment with it so there is much to be learned.
This is a similar scene from a recent post. Since I have started a self-portrait on a larger scale I want to get more comfortable with this newer paper. So here I was seeing what I could do with this paper. Not bad as far as I am concerned.
As a side note, blue is the color I use the most and therefore have to replace more frequently than any other. Some form of blue was mixed or applied in all the colorings in this picture.
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| (C) 2019 Dale DiMauro |
With this phenomenal sunny weather we our experiencing, I am trying to get out as much as I can to plein air paint. The tinge of color on the foliage tells me the leaves will be falling soon. In fact, in some places it is already on the ground.
In my mind I try to envision where the sun will be, in determining where I want to paint. Earlier this week I chose an early morning site where I could face west across the Connecticut River. If it had rising mist all the better. Nevertheless, a lovely location.
I started out focusing on the river as the subject until I noticed the sun warming the log in front of all this vibrant growth. The overall light conveyed across the scene I find quite welcoming. I spent a little over an hour on this piece. At that point I did not want to overwork the painting.
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| (C) 2019 Dale DiMauro |
It's always fun to play with paint. Any little piece of watercolor paper at hand is all you need. I learn something each time I play with paint, paper and brushes.
This imaginary landscape is the result of having some unplanned time in my schedule prior to an appointment. It's amazing what happens when you let colors blend into each on the paper with a little manipulation. Over time I have learned to appreciate using warm and cool pigments and how affective their placement can be.
At times when painting I feel like I am in a 'zone'. This is when a picture moves along freely without any hesitations. You can just feel the painting come together after visualizing where you want to go with it. This is an exciting time because it feels like a growth spurt. Since it is recorded on paper you can go back and see where you were at that time and learn from it.
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| (C) 2019 Dale DiMauro |
These days I usually pre-stain my watercolor sheet. Not always, but more frequently then in the past. This way I can get beyond the white of the paper. Of course, it all depends on your subject matter.
This is the perfect example. I wanted subdued colors so the grass and green of the trees would stand out. This sky has a touch of pink which is pretty much the complimentary color to green. The cool gray of the drive helps to frame the greenery.
Trees can be hard to paint if you don't have a clear vision of what you want. For me it is important to have the tree in the foreground lighter than the tree in the background. It is also important to depict the foreground tree with greater height and a thicker trunk to suggest that it is closer to the viewer. Also, expressing the foliage distinct from the other tree in your technique can be helpful. Many artists use some sort of masking fluid during the painting of trees but I shy away from this approach.
I'll post the final version of this watercolor when I finish it. I do appreciate the large specimen trees you sometimes find along old residential neighborhoods. It seems like they are becoming harder to find these days. Trees take a commitment to be allowed to grow to a mature height without too much interference.
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| (C) 2019 Dale DiMauro |
For the most part, painting the landscape is a joy in good weather during the Summer season. There is great plant growth, bird activity and interesting cloud patterns to observe endlessly.
I like this watercolor even if there are some obvious flaws to be addressed. The colors are lively and pretty accurate to the scene. There is movement to the unsettled surface of the water which I find fascinating. The granulation from the ultramarine blue in the sky adds a nice feel to the overall painting.
The flaws originate from trying to lift color to suggest multiple tree trunks on the right foreground. Seeing through the foliage makes the tree appear like it is on the distant shoreline when in fact, it is in the foreground. Nevertheless, the burst of transparent green foliage on the lower right is so rich I come back again and again to this corner of the picture.
The distant tree-line I have been studying all summer with it's undergrowth and spit of sand. This is by far my best approach to date. So yes I find this watercolor to be exciting and a yardstick of progress. Also, it was done in a little over an hour.
Perhaps, a good watercolor is not the result of time spent as much as a clear vision in the steps forward.
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| (C) 2019 Dale DiMauro |
A quick thumbnail sketch is the way to go. If you are pressed for time, at least you can put something down on paper and return to it later. This way you can build upon your initial impression.
These value studies get right to the point. If done well you can understand the foreground, middle area and background. This way you can benefit from the feedback of others.
This pencil study was inspired from my recent trip to Maine. I saw the setting sun on several evenings with quite dramatic color reflected across the water with it's long shadows.
All I needed was an HB pencil and a piece of scrap paper. It is a great opportunity to refine your composition so that it is as simple and strong in layout as possible.
The Berkshire Museum, located in downtown Pittsfield, MA, has an exhibit titled: Leonardo da Vinci: Machines in Motion. This exhibit features forty model replica's of Leonardo 's inventions. However, the exhibit ends soon, on September 8. I don't know if I have the time to squeeze in a visit but do not want to miss it.
These are some of the magazines and books on Leonardo which I have read recently. Beyond his legendary paintings, I have always been taken by his drawings which are such powerful depictions of his imagination and observations. The fluidity of his pen reflect his mastery of human anatomy like no other.
Over the centuries as we discover(or rediscover) more insights from his papers, his works become more intriguing. Is Leonardo the model for some of his drawings on the human form? Many scholars think so.
