Summertime by the Water

(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. 

Thumbnail sketch

(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.

Leonardo da Vinci

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.

Watercolor sketch

(C) 2019 Dale DiMauro

This week I forgot to include my paint brushes when I met with our dedicated art group. That is a first, at least for me. Fortunately, we share not just our experiences but our materials. It gave me an opportunity to practice with some different brushes. In particular, I liked the feel and control of this Holbein brush I used.

This little imaginary watercolor sketch was done with the Holbein brush. Since I was unfamiliar with the brush and how it handled, I figured it was best to do a warm up exercise.

It is always satisfying to complete a watercolor in one sitting, when possible. When you're inspired and you feel a good vibe, the painting progresses well. During this process, I feel the freedom to experiment and drop in pigment to existing washes. I find this freshness hard to duplicate at a later date. It may not be my best painting, but I learn from them all, nevertheless.

Painting techniques

(C) 2019 Dale DiMauro

This is a detail of a painting that I began recently. When I was painting the clapboards as artists often do, I began experimenting with different techniques. 

I really don't want to paint every single clapboard. More than that, I don't want the painting to look over worked and labored. So I began painting the clapboard where it meets the vertical trim on both ends. In from the trim where the paint was still wet, marking where the clapboard is, I blotted the paper with a paper towel. 

I found this technique quite effective. It dried fast and I could move on to the next clapboard without fussing around too much. I became quite inspired by this development in approach.

I'll see where this takes me and let you know my thoughts on a future post.

One if by land, two if by sea...

(C) 2019 Dale DiMauro

In watercolor there is an abstract quality with how the washes dry on the paper. Once you gain a feel for some of the affects you can achieve, one can really use it to your advantage. By no means am I a claiming to be a master of the medium. However, in the above picture, for example, the speckles in the water is where the brush left a few unpainted slivers of paper to the imagination. Also, at the trunk of the tree you have this cloudy area which may suggest the lifting of fog in a different context.

You can strengthen your drawing through your painting. We know that warm colors advance while cool colors recede. This principle is good to keep in mind when painting. 

In addition, you can convince the viewer by painting the horizon dead even with a sureness of hand. This is a great place to build your picture going forward. 

On the other hand it feels good to simply play around with paint. Particularly when you free yourself from expectations. An unconscious element may kick in and the picture develops in a direction you could not foresee. At the end, you can add a little color by dropping in a figure or two as I did in the above watercolor.

ANDERS ZORN: Sweden's Master Painter

Anders Zorn (1860-1920) was quite the artist. Zorn, from Sweden, was a contemporary of John Singer Sargent. He traveled extensively throughout Europe and the United States, achieving international success as one of the most celebrated portrait painters of his era. With his ability to capture the individual characteristics of his sitters, he went on to paint three American presidents: Grover Cleveland, William H. Taft, and Theodore Roosevelt.

Recently, I came upon the book Anders Zorn: Sweden's Master Painter, which is shown above with its front and back covers featuring two of his watercolors. I had not realized Zorn was such an accomplished watercolor painter. 

The watercolor on the back of the book, Summer Vacation, was painted in 1886, one hundred and twenty-three years ago. It is painted on a full sheet, which I thought was uncommon for the time. In addition, I understand it is the priciest Swedish painting ever sold. It sold for 26 million Swedish Krona in 2010 (about 3.7 million U.S. dollars, I believe). And this is for a watercolor, not an oil.

Cederlund, Johan, et al. Anders Zorn, Sweden's Master Painter. Forward by Colin B. Bailey, Rizzoli Electra (with Fine Arts Museums of San Francisco), 2013.

Bar Harbor(Maine) Sunset

(C) 2019 Photograph Dale DiMauro

One evening during my vacation in Maine, I hurried down to catch the sunset. During low tide, if you are lucky enough, to catch the sunset in good weather, the walk along the beach to Bar Island can be spectacular. 

Recently, tourists have become foolish enough to drive out by the edge of the island. Before long the tide moves in and your automobile is under water. In addition, this blatant disrespect for the natural environment ruins the experience for other people, including children playing along the beach.

As you can see this area is home to dramatic sunsets at this time of year with the changing light and ever moving shoreline, lapping at your feet. 

It is not difficult to imagine a watercolor derived from this photograph. With the natural patterns of the waves in the foreground and the vibrant washes of oranges and blues in the sky, the landscape takes on greater meaning.

Summer in Vermont

(C) 2019 Dale DiMauro

There is no other place I have been in this world with the richness of greens in the Summer as in Vermont. When I have left to go visit other states they often have drought-like conditions but once I arrive back in the Connecticut River Valley, the lush, verdant landscape smells of moisture in the air. 

Lately, I have been painting the skies I experience as accurate as I can, which is not easy. When you really look above you there is great diversity in the light and cloud patterns that influences our day. 

How you paint the sky is really important as it is often the first thing I put down in watercolor. It basically, sets the mood for your painting. The other thing about skies it that they are abstract. Or at least you can tweak the colors or exaggerate the values as long as your perspective with the horizon is working in your favor. 

Also, I have learned that the landscape is a couple values darker than the sky which gives it a solid foundation. I keep this in mind while working on a painting. It seems to be a good principle to build upon instead of going back to the ground area and making corrections.

Lake Sebago

(C) 2019 Dale DiMauro

Coastal Maine is a great place to visit, particularly in the Summer. I read somewhere that Bar Harbor had 30,000 people on one particular day when the residential population is in the neighborhood of 5,000. When your town has Acadia National Park on it, you attract crowds. Clearly, we were not the only ones visiting Maine but a change of scenery is alway welcome.

On one of the hotter days when traveling my wife and I visited Lake Sebago, which has the vast openness of a small ocean. However, the beach has smooth sand, free of rocks for the most part, which makes it great for swimming. Set back from the beach, Lake Sebago is distinct in having a transition area between the parking lot and shoreline dotted with mature pine trees. These trees provide a canopy from the sun over the picnic tables and walking trails with dappled light reaching the ground.

This watercolor is a 'memory' sketch from our day at Lake Sebago. My camera was left behind for the day so I painted what I recalled at a specific location along the beach. 

Of my three times visiting Lake Sebago, this was by far, the largest population at the beach. Scores of young children, in matching swimsuits with other day campers, are bussed to the beach in the Summer.  

Landscape Painting

(C) 2019 Dale DiMauro

Summer is a great time to paint watercolors. You don't have to go far for inspiration. Also, the days are long which gives you the opportunity to notice the changing light and capture it one way or another. I try to capture it with my camera. Or with pencil and brush. It makes you see things differently.

These are watercolors I have done in the last year. It is very satisfying to lay several out in a group not unlike a collage. It is also rewarding to try different types of watercolor paper and different sized formats. These paintings were done on Arches, Saunders and Fabriano watercolor paper.

Creating depth in a picture through foliage can be challenging yet rewarding if you come upon the right color combinations. This Summer season I have been eager to see what I can do with Hansa yellow. It is such a clean, transparent color. I like the range of greens it provides when mixed with various blues. 

Quick Sketch

(C) 2019 Dale DiMauro

Recording a quick sketch when your subject is in an unposed posture can be quite rewarding. Naturally, it can be challenging too. Regardless, this is a good practice to develop in public if you get the chance. 

On the one hand it may be best to ask for an individual's permission. On the other hand it may not be as unposed as you intended. Occasionally, on a picnic I will sketch a friend or relatives posture, in that moment, if I can.

If it turns out terrible you can turn the page and start another one at a later point. Really, there is no loss, you just move on.

This drawing was done fast. I liked the way this guy's body was held up in and around his folding chair. You can't make this posture up. It was too good--perhaps even comical. 

Foreshortening is usually tough to convey accurately. Is his right arm drawn the way it is? I don't know but after reviewing what was done I figure the next time I will do even better.

Stickney Brook II

(C) 2019 Dale DiMauro

As you may have figured out by now, Stickney Brook is one of my favorite local plein air spots. The dappled light, burst of foliage, cool breezes and water in its various forms is enticing. In numerous points along the brook you have falls, pools, eddies and meandering, offering diverse vantage points to paint and dip in.

I sat on a flat ledge-like rock, seat height, with my feet dangling in the rushing water. The light was changing quickly so I worked fast from top to bottom. These days I have evolved to rotating the watercolor block in my hand to manipulate the areas which are wet until I move on to another area. The spatial qualities of the brook I feel good about even if the foreground could use some finishing touches.

This Summer I have been using Holbein watercolors almost exclusively for painting outside. One of the great things about painting outdoors is the simplicity one attains whether conscious or not. For this painting I only used two brushes.

New table for plein air painting

(C) 2019 Dale DiMauro

Yesterday, I happened upon a table suitable for plein air painting. Or at least for my needs. I was downtown in our local sporting goods store where they stock portable folding tables and chairs intended for the outdoors. This one is aluminum, thus very light and quite handsome, I must add. Including sales tax it cost under forty dollars. 

It beats perusing a mail order catalog or online where you are not quite sure what you are purchasing until it arrives at your door. The employee I met was knowledgeable about its assembly and the various settings to utilize. So I am quite pleased with this purchase.

The last two paint outings have been frustrating with regards to holding my brushes, palette, water container, etc. Most of the time outside I find an easel is not necessary. With this table I am convinced it is convenient to paint sitting down or standing. It is a good feeling to be able to put things down and change your position from time to time. Also, the setup is simple and quick, which is key when working outside. The wind or rain can come your direction in no time at all.

Stickney Brook Falls

(C) 2019 Dale DiMauro

During the recent heat and humidity I have painted several plein air watercolors at this local watering hole. While painting, it feels great to hear the sound of rushing water with a shady canopy overhead. It is also refreshing to take a dip or walk through the water where it is low in spots.

I don't know if I would call this a finished painting even though it probably will not require much more work. When the first few washes were put down I was full of excitement at the direction it was heading. The colors remind me of this particular place at the time I was there.

I have come to the realization that I am mixing colors that match what I see out in nature. I can't say that I could do that in the past, at least consistently. The other thing I have been working on is contour drawing. If I really concentrate when drawing and painting outside I seem to be able to layout the image I am conveying quickly. This is important when plein air painting as the light and color is constantly changing. 

In conclusion, it is important to focus on one area of the landscape, not all the stuff before you. It takes time to develop an eye for what you want to develop on your watercolor paper.

Ashuelot River

(C) 2019 Photograph Dale DiMauro

Vermont is a beautiful place to live. Sometimes I lose track of this. Particularly, when the demands on my time are great. As a result, it is important to get outside and embrace the natural world. Fortunately, I can take a hike and access this wonder quite readily. It can be even more rewarding to paddle through an abundance of greenery and see wildlife first hand.

After a busy Spring, work wise, I am back to watercolor painting both in the studio and out in the landscape. I took this photograph last month, from the bow of my kayak, while paddling on the Ashuelot River in Keene, NH.

I have noticed the transformation of the foliage around us from the yellows of Spring to the heavier blue/greens of Summer. In retrospect, it is good to reflect on the natural world which we live within. Particularly, as the seasons change so rapidly, at least here in Vermont.

It was not until this afternoon when I realized I had failed to write and publish a post on Wednesday. So this is it.

Sargent: The Watercolours

When my wife and I were last at the Clark Art Museum I purchased this book. It is titled Sargent: The Watercolours, by Richard Ormond and Elaine Kilmurray. I have not read this in it's entirety but it already makes me look at John Singer Sargent's watercolors in a different light. 

The low angle which Sargent preferred to view or portray his subject is clear as day. In the photography of Sargent's watercolors, or at least those selected for this book, one can feel the brushstrokes made across the paper with either dry or wet edges. Most of all, perhaps, is Sargent's direct approach to painting with minimal fussing around. As a result of his mastery of drawing, or sureness of line, his economy of colors radiate from the paper. This moved me in ways no other watercolor paintings have, period.

John Singer Sargent not unlike his sister Emily, never married and shared a mutual interest in the arts. I have read in previous books on Sargent, Emily's understated interest in watercolor. However, on page 142 I was thrown when the authors state that a 'recent discovery of more than five hundred of her watercolours in a family trunk has confirmed her talent and revealed her as a serious and dedicated painter.'

While writing this piece I find it ironic because it is hard to find watercolors on exhibit when I attend most major art museums. I have asked countless museum employees if there are any watercolors on exhibit. They either do not know or seldom exhibit works on paper. Now I understand watercolor paintings are sensitive to light and the paper can and will deteriorate. 

However, we live in a time when the technology for art preservation and the evolution of materials are greater than perhaps, any point in history. Watercolor has become a unique American medium due to it's portability and low cost. We owe Winslow Homer some credit for this as most of his art materials were not available at the time in America. As a result, plein air painting has grown in popularity ever since.

Ida Ten Eyck O'Keefe

From my visit last weekend at the Clark Art Museum this painting has became etched in my memory. There is something simple yet extraordinary about this composition. I believe it has a lot to do with the colors or at least the concentration of color against a subdued background.

This oil painting titled, Still Life(Still Life with Fruit), was created by the late Ida Ten Eyck O'Keefe(1889-1961) in 1926. She was a younger sister to Georgia O'Keefe. Georgia, being the older sister, claimed she was the artist in the family and wanted to keep it that way. What is it about sibling rivalry and what does it tell us?

I found the exhibition on Ida Ten Eyck O'Keefe paintings fascinating. She was no amateur painter and had a clear aesthetic. For me her still life paintings stood out as they had vibrant color, not to minimize her landscape paintings. 

The current exhibition at The Clark is titled: Ida O'Keefe: Escaping Georgia's Shadow: July 4 - October 6, 2019.

John Constable

Yesterday, my wife and I got out of the heat and headed to Williamstown, MA. We made our annual pilgrimage to the Clark Art Museum, located in the Berkshires. We have not found many world class art museums set in a rural environment such as this. 

On the drive over I noticed how important it was to have large, mature trees in our life. The environmental benefits provided by the shade and lush greenery made it a more enjoyable day. The cultural landscape of our every day experiences at home consist of treeless parking lots and the proliferation of scrawny fruit trees. In general, there is a mindset that trees are too much trouble with all the raking and pruning etc. However, to experience a tree that is allowed to grow in a heathy setting for decades and even centuries, truly is beneficial to our species.

Enough with my rant. My wife and I made sure our beloved paintings were still hanging on the walls of the Clark Art Museum. There is a masterful Thomas Gainsborough double portrait which we admire in addition to many John Singer Sargent paintings. There are too many other great painters from the past with their works on display to include here.

However, this classic John Constable(1776-1837) painting titled The Wheat Field, I associate with the very first time I visited the museum which was decades ago and certainly prior to to the museum's recent expansion. Constable, an Englishman, painted this oil on canvas in 1816. 

The write-up by the painting at the Clark Art Museum succinctly states that traditional farming practices were disappearing as a revolution in agricultural techniques swept across the British countryside. This nostalgia Constable felt was a result of a rapidly changing way of life. There are parallels to the times we live in, certainly full of technological advances whether for the advancement or regression of society. Regardless, I love the color of the wheat field and regrettably, acknowledge how greater connected to the natural world our ancestors were.

Saving your Watercolor with Corrections

(C) 2019 Dale DiMauro

This is the subject matter from a few posts back. I have been trying to capture this time of year with all the verdant growth. Then on top of that, this proliferation of green is cast onto the water as a shadow.

On the top left corner of the watercolor I inadvertently got some green pigment on the page. This is a staining color and thus hard to remove. I am not sure which color, perhaps pthalocyanine green. However, I did lift most of the pigment and will try again to make it a non-factor.

Many people claim that watercolor is such a difficult media to handle. Regardless, of differing perspectives, there are readily available remedies to correct problems that you may find your self in. In this case, I dampened the area of the paper in question with water and lifted it with a paper towel and small scrubbing brush.

Watercolor is all about marking the paper with which ever technique you choose. This may be include pigments, pencil, masking, gouache, etc. You as an artist just have to find an additional technique to draw your eye away from a particular flaw.