South Pond

(C) 2017 Dale DiMauro

Often when paddling in the summer season, I am searching for places to capture in watercolor. South Pond in Southern Vermont, offers much to be desired for the paddler and the artist, simultaneously. Generally speaking, it is a quiet place, with minimal development and a variety of wildlife if you are paying attention. I have come upon cormorants, loons, red-winged black birds and numerous other birds that escape my identification abilities. My most spectacular experience, as I mentioned in a prior post, was when a deer with a full set of antlers swam thrashing across the still surface of the pond. 

Recently, I left South Pond, with my kayak on the roof of my car and this plein air in hand. In town it was one of those sticky, muggy days, which motivates me to seek a cooler setting. After an hour and a half of standing in the shallow water, I was pleased with the direction this picture was going. The light had changed significantly, but I like the greens and browns that were such a part of this small protected cove.

New Watercolor Palette

(C) 2017 Photo Dale DiMauro

This summer I have experimented with different palettes and considered various ways of arranging my paints. Generally speaking, there are metal, plastic and ceramic palettes available. From my experience ceramic is simply too heavy. Plastic is common with many choices available. However, I have not come upon the perfect palette and may not in the future.

Last week I registered for a plein air workshop led by Gary Tucker with the Monadnock Area Artists Association in Walpole, NH. Gary is a watercolor painter from Boston, MA. Reading through his handouts for the workshop I came upon this palette, which he recommends. It seems well conceived with tough plastic, so I figured it was worth trying. It is available on this website: http://www.shysart.com/.

I like this one for plein air because the two covers snap shut creating a tight seal over the paint. This way the pigment cannot run around and make a mess. The paint wells in the middle area are deep and wide for larger brushes. This palette folds down to the size of the two centered sections which makes it convenient for travel. 

Other palettes that I have used are difficult to clean as there are many paint wells with small areas where pigment builds up. For this palette I intend on only using Holbein watercolor paints. I have been informed that Holbein paint does not use ox-gall, which can make paint a bit runny, which can be a challenge when working outside. In addition, other paints may be susceptible to the development of mold in moist conditions, but not this brand's.

Ashuelot Park Plein Air

(C) 2017 Dale DiMauro

Plein air painting has transformed how I paint and view the world I am portraying. With the changing light it is important to not become distracted with all that is going on around me. This concentration can become exhausting if I paint for a long period of time. I generally plein air paint for a little over an hour and at that point it is time for a break. Usually by then the light has changed and I need to step back and take a fresh look at where I am on the picture.

This is a plein air painting which I started in Ashuelot Park, in Keene, NH. Yesterday I did some finishing touches at home. This view is in the vicinity of the waterfall with some buildings deleted. Mount Monadnock is very much in view.

On these outdoor excursions I have been experimenting with a Sennelier watercolor pan set which is different from my Winsor and Newton studio palette. The Sennelier set, made in France, limits the number of pigments I use to fourteen. In contrast, in the studio, I have at my disposal up to thirty five pigments from my Winsor and Newton palette. 

Until I worked on this at home, the tree trunks were so transparent that you could see the mountain through the base of the tree. I had to lift out the paint in this area and go back in with a darker color to correct this problem. Other than that, I love the vivid colors and how the paint gets absorbed into the paper.

The tree shadow gives dimension and roots the trunk into the earth. Unfortunately, the photograph does not do it justice. When painting outside you really don't know what the result will be as the paper is transformed through various wash cycles which brings the whole experience into the present moment.

The Watercolor Board

(C) 2017 Dale DiMauro

It was a gorgeous day here in Vermont. This afternoon I sought to get outside and take advantage of the good weather we have been having. I took a trail walk through the local woods and strapped my kayak on the car for an afternoon paddle.

This was my set-up for plein air painting, in the late afternoon, on a nearby pond. Recently, I purchased a new mount, which holds the paper in place as tight as a drum. This frame stretches the paper which is important in preventing buckling which causes pigment to settle in the low spots whether you want that to happen or not.

I felt like I got off to a good start on this picture except that passersby delayed my process numerous times. At this time of year I really notice the changing light. Regardless, of the results, I feel good about this painting and the utilization of this new mount.

Andrew Wyeth at the Farnsworth Art Museum

2017 Photograph Dale DiMauro

Earlier this Summer my wife and I visited the Farnsworth Art Museum in Rockland, Maine. This year Andrew Wyeth would have turned one hundred, thus, the museum celebrated by assembling a strong exhibit of his paintings. As much as anything on display, I found the exhibit on his drawings fascinating. 

This landscape drawing was done with such strong tonal values that it appears photographic at first glimpse. One can truly see where he pressed down hard on the paper. The shadows along the shore and those cast from the tree trunks give the viewer a sense of the mood of that day.

Many of these drawings or watercolor studies are the size of some of his finished paintings. Not only is the scale significant, but his draftsmanship was superb. For me, some of these more complete drawings are paintings in of themselves. 

To think he drew outside on this scale as a plein air painter would do, is unbelievable. Speaking from experience, to lug around large sheets of paper out in the elements is no easy task. One display panel mentioned that Andrew Wyeth painted one hundred to one hundred fifty watercolors per year which over the course of six or seven decades is a quantity hard to comprehend.

Long lost painting

(C) 2017 Dale DiMauro

This painting was begun towards the end of last winter. I was inspired by the quality of the light across the landscape and the dramatic perspective framed by the fence. Then I put it in a drawer in my flat files to keep it out of the sun as the days were lengthening, and I lost track of it for a while. 

Some of these large watercolors as they accumulate paint begin to bow. Thus, they don't want to lay flat. Due to this characteristic I believe they hang in the top of the draw, which makes them difficult to locate. This may seem bizarre, but I searched these flat files several times in early spring and could not find this painting.

Since coming upon this painting by accident a few weeks ago, I have moved the trunk of the big tree from the middle of the painting to its off-center location. The figure, which is me, is becoming more refined. I have further worked on the fence and strengthened the presence of the shadows. The foreground of the painting has acquired the cool temperature of winter, which makes the sunny areas feel warm. 

Brattleboro Common

(C) 2017 Dale DiMauro

This morning I spent some time plein air painting on the Brattleboro Common. I had some time as my appointment ended early. It was not even mid-day and the sun was above me, which is a time of day I seldom have the chance to capture.

It is always a challenge to paint outside. However, it can be very rewarding. Regardless of the outcome, it is always a memorable experience.

When my hour or so working on this picture was up I was swarmed by twenty or so young children brought outside with their adult supervisors. They climbed up the gazebo, ran around the monument and spread out over the lawn. Some of these children wanted to know what I was up to as I had settled in at a picnic table more or less in the middle of the Common.

One of the supervisors described this picture as a sketch or drawing as a way to entice the children to take in the view that I had chosen. The little building is a tourist information kiosk when the window on the opposite side is open. I tried to match as close as possible the changing colors that were before me.

Watercolor doodle

(C) 2017 Dale DiMauro

When we were in Maine on vacation last month I purchased this small Arches watercolor block (about 4" x 10"). I found it in Northeast Harbor at a science store of all places. I thought it would be a useful size to practice painting figures. Also, it seems desirable to add a cool car or two to some of my watercolors when they are called for. I think of these as little practice sheets.

There are important lessons I have learned in regard to seating figures into the landscape. Figures give motion and direction to a picture. Just that little bit of a skin tone to the face or arm makes it feel human. The lower leg or boot needs to be of a darker value to define the presence of the figure. Washes suggesting grass or meadow around the feet naturalize the image and offer a pleasing composition.

Automobiles need to be anchored into the landscape, too. Tires usually cast shadows, which unite the vehicle with the ground plane. These shadows typically are the same value as the tires. This underbelly value gives the vehicle substance and contrasts well with the color of the frame.

I hope to practice these figure and automobile studies until I am very fluid in their execution. They give a sense of scale and character to a watercolor.

Plein air challenges

(C) 2017 Dale DiMauro

Plein air painting in watercolor is a real challenge. I have mentioned in prior posts how the changing light, a sudden burst of wind or rain, can alter the scene in a moment. Well, late this afternoon I experienced all these qualities in my hour or so working on this piece. As a result the final version is much different than my start.

My first wash involved adding blue for the sky above the distant hill. I misted the top of the paper with my sprayer then dropped in blue and rotated the watercolor block around to prevent the pigment from running down the page. The sky was faint when I blocked in the hill, but as the weather changed, the hill was obscured. There were two guys playing basketball on the right, and I sketched in one of the figures but he scurried away as the clouds moved in.

Regardless of the challenges, I am embracing open air painting. It makes me really concentrate on the task while honing my observation skills. It also frees me to paint unlike any studio piece. I have learned to approach a plein air painting subject differently, with flexibility and a focus on simplicity. 

North East Watercolor Society Exhibition

(C) 2017 Dale DiMauro

Recently, I was informed that this painting titled My Brother was accepted into a major watercolor exhibition. The painting was selected for the 41st Annual International Open Exhibition 2017 by a jury of five signature members of the North East Watercolor Society.

The exhibit will take place in Kent, Ct from October 15th - 29th. There will be an opening reception on Sunday, October 15th from 2-4 pm. In addition, there will be an awards ceremony at this reception. The juror of awards this year is Mel Stabin, AWS, a nationally known watercolor painter.

Naturally, I am excited to report on this bit of news. Now I just have to get this painting framed.

Stickney Brook Falls

(C) 2017 Dale DiMauro

I found yesterday afternoon to be a hot and humid day in Brattleboro, Vermont, so I escaped to these little falls not far from where we live. I love the sound of the falls, the breeze they create, and being able to cool down on a hot day.

It was a challenge to paint this scene. I had two rambunctious girls circling around me while throwing stones. At the same time their energetic dog was shaking water from its body right at my foot, and licking my knee from time to time.

With many plein air paintings, you don't really know what you'll get until you're done. I worked on this a little too much since the light had changed and the sun moved directly into my eyes. The cascading water that zig-zagged down the hill was at times invisible to the eye yet audible as it flowed from one outcropping to the next.

By the end of my painting time, consciously or not, I was exclusively painting in purples and grays or black. After I got home and took a second look with a fresh eye, I was pleased with my result. The rock ledges have a cool, shadowy quality to them.

Thumbnail sketch

(C) 2017 Dale DiMauro

When my wife and I vacationed recently, in the state of Maine, we took daily hikes for exercise but also to get out in the landscape. When we were on Mt. Desert Island, we were rewarded with breath-taking views nearly every hike. 

Since we got back home, I have had pictures printed that either I or my wife took. Last night while listening to a podcast on plein air painting, I doodled this little thumbnail sketch from a photograph taken while climbing Acadia Mountain. 

Sometimes these little doodles are the best as I am not attached to any set composition. In my mind I was rapidly changing the landscape to strengthen the composition. I moved trees around and inverted the landform to make the figure (me) have a stronger presence. I am not looking to dominate the picture but tweak it in a way that reveals some quality inherent in the landscape, whether it is an atmospheric effect or the quality of the light.

Plein air bag

(C) 2017 Photograph Dale DiMauro

After two weeks vacationing in the state of Maine, my wife and I returned home. The weather was great, and we socialized with friends and relatives more than we had anticipated when we left.

This afternoon as we unpacked, I emptied out my bag for plein air painting, which was originally intended for fishing.  When we visited an outlet store of L.L. Bean's in Ellsworth, Maine I picked up a plein air bag that is better than the one I have been using. The new one, like the one I have been using, is waterproof with useful water and spray bottle holders. However, the new one also has an assortment of small pockets to hold pencils and paper towels with greater dividers.

Before leaving Portland this morning, I got to visit one of the best art stores I have ever been to. Most art stores these days do not carry much product, and the quality of their offerings are not what they used to be. However, The Artist & Craftsman Supply store is similar to a warehouse with aisles of goodies. Additionally, it is an employee-owned company. 

Acadia National Park

(C) 2017 Dale DiMauro

My wife and I spent this week in Bar Harbor, Maine, and exploring Acadia National Park by car, foot and through swimming. We met up with relatives and friends along the way. We even ran into good friends from Vermont who happened to be walking along the sidewalk in the downtown area.

One of the hikes we took was around Jordan Pond, which was well traveled. This little plein air was done not far from the trail. It was a challenge finding a spot to get situated that was not in the sun. The Bubbles are in the background, which are two small rocky mountains. There was quite a bit of wildlife coming and going around me. There were many people, gulls, and ducks, as well as small schools of fish in the shallow water near my feet.

When plein air painting I seem to arrive at colors that approximate the natural scene. This is not easy to do as the light is constantly changing, so I am proud of that. However, I feel the foreground needs a little more work to solidify the picture. I could have worked a little longer, but my stomach was calling for lunch.

Andrew Wyeth @ the Farnsworth Museum

Photograph by Dale DiMauro

Earlier this week, my wife and I visited the Farnsworth Museum in Rockland, Maine, which includes the Wyeth Center. It is quite an achievement to have a museum for your family's paintings but that in essence, is what the Wyeth Center is. Don't get the wrong impression because the three generations of Wyeth's from N.C., to Andrew, and to Jamie have created a lot of worthy paintings.

Since this is the year Andrew Wyeth would have turned one hundred, there is a gallery dedicated to his watercolors. One of the display panels mentions that he painted 100-150 watercolors a year, which through the years would total thousands of paintings. I do not know of any American artist with that level of productivity.

This watercolor study by Andrew Wyeth, called Drumlins was done in 1974. It is part of another exhibition in the museum featuring some of his drawings, which alone, are quite remarkable in the range of subject matter and scale of the work.

After we left the museum I came away thinking this was the best exhibition of the artist's work I have ever seen.

Giovanni Battista Tiepolo

2017 Photograph Dale DiMauro

Earlier this week my wife and I visited Bowdoin College in Brunswick, Maine. We learned they had a great exhibit of works on paper and they indeed do. They have many drawings and watercolors on exhibit dating back hundreds of years. Most of these pieces I had never seen before. However, there are watercolors by the likes of John Singer Sargent and Winslow Homer among others.

This red chalk drawing by Giovanni Battista Tiepolo (1696-1770) is titled Head of a Young Man. This was completed circa 1752-53. With the aid and collaboration of his two sons, they created more than 1,500 chalk studies. In addition, they created hundreds of pen and ink drawings.

What I noticed most about this drawing is his ability to capture the feelings of the individual through a minimal amount of drawing. This is in addition to depicting the characteristics of the face in part, through the conveyance of light. 

Jules Adolphe Aime' Louis Breton

2017 Photograph Dale DiMauro

Last weekend my wife and I visited the Clark Art Institute in Williamstown, MA. This day trip in early summer has become an annual ritual, followed up by attending a play in the evening at the Williamstown Theatre Festival.

Even though there was a special exhibition on Picasso, we are usually drawn to the permanent collection, and this time was no different. Since the museum completed its expansion, the exterior setting outside in junction with the orientation of the grounds truly parallel the quality of the works hanging on the inside walls. Through all the improvements to the museum, it remains in its familiar location and many of the art works feel like old friends. 

I have always admired this painting by Jules Breton (1827-1906), a French 19th century realist painter. The painting, titled Peasant girl with turkeys, is oil on canvas, completed in 1864. Breton's paintings reveal the importance of the French landscape to his art.

A View from the Brattleboro Common

(C) 2017 Dale DiMauro

This is a plein air painting I did this afternoon. I walked down to the Brattleboro Common, which is a short walk from our house. It was important that I could paint in the shade while looking into the sun. The building was minimized because I wanted to convey the light coming through the gaps and had selected a small sheet of paper.

Recently, I have been staking out places to plein air paint with picnic tables or benches where it is easy to set up my equipment. Not only am I trying to refine my painting approach outside, but also simplify what I need to bring with me.

I worked on this picture for about an hour and a half. I couldn't resist putting in the parking meter, yet wish the shadow was added, as it helps define the curb and time of day. It is fun to wet small areas of the paper, which enables me to experiment with a variety of brush techniques or drop in other pigment and increase the value in areas.

July 3 in Grafton with the Vermont Symphony Orchestra

(C) 2017 Dale DiMauro

My wife, mom, and I spent the evening of July 3 attending the Vermont Symphony Orchestra's pops concert in Grafton, VT. The day had been hot, but the weather ended up being quite pleasant as we stayed out of the sun the entire time. After eating the dinner we brought (and my wife consuming our neighbors' surplus), I did some plein air painting. 

As far as subject matter, I wasn't sure what I should focus on. The light was changing fast, and all the people gathered in the field were constantly on the move. The bugs could have been a real challenge, but they were not a nuisance, or even really noticeable.

I settled on the distant fields and woodland edge where the sun was still present. This can be seen in the above photograph. After I started, and particularly during the intermission, a trickle of onlookers developed around me. Some were artists themselves and others just wanted to see what I was up to. One person asked if I was going to sell the picture. My wife even handed out business cards. 

However, I must admit, I was eager to finish the picture before engaging in any peripheral conversations. The light was fading fast. The paint was not drying as quickly as I would like as there was some moisture in the air accumulating into dew. I learn something every time I work with watercolor. 

A View from the Northampton, MA Rail Trail

(C) 2017 Dale DiMauro

Several weeks ago, my work week was cut short so I put my bike in the car and headed down to Northampton, MA. We had, had a streak of overcast days so it was important to get outside and enjoy the beautiful weather. This image, inspired from a photograph, I took from my bicycle, has lingered with me ever since. I was struck by how verdant the Pioneer Valley was. I thought Vermont being the Green Mountain state and all, could not be outdone.

Lately, I have been reading about all kinds of color combinations worthy of trying in my paintings. On this very trip I purchased, The Artist's Color Guide, Watercolor: Understanding the Palette, Pigments and Properties, by Hazel Soan. For some time, I have been searching for greater knowledge in the use of color and pigments as a means to expand my color palette in watercolor and this purchase as they say, was spot on.

I have learned the fewer color combinations required, the better. For example, it is easier to combine two pigments instead of three and the less you utilize the more vibrant the wash.

This green field is a pairing of aureolin and prussian blue which I have come to use for some time. However, I tried a new dark from the combination of cadmium red and prussian blue for the tree trunk. For a couple months now, I have introduced more burnt sienna into my landscapes which seems to add a greater dimension and variety into the foreground.