Plein Air Painting

I've had several people ask me what "Plein Air" means. Simply, it means painting in the outdoors. It also means being prepared for cold, fog, rain, sun, heat, wind, bugs, dehydration, starvation, criticism, and anything else that comes with painting outdoors. There are also a lot of positive things about painting outdoors. I have the opinion that it keeps me "honest" in my work. When you paint outdoors with all the colors and elements there before you, it can be the best teacher. I also enjoy being able to re-connect with artist friends that I haven't seen in a year.

I'm in Cedarburg, Wisconsin participating in its annual Plein Air Festival - a 10 day event featuring 160 artists from around the country. Here is how it works:

Check in on a Wednesday. Paint in Port Washington, WI.
Thursday - paint in Cedarburg or Port Washington
Friday - paint in Cedarburg
Saturday - QUICK PAINT. Each artist must check in at the registration table in town with a blank canvas. The volunteers stamp the back of the canvas, and record the time that you check in. You are given 2-1/2 hours to get to where you want to paint, set-up (it's wise to lay out paints before you check in), sketch out and paint an entire painting, frame it, and return to the registration table with it. It sounds intimidating, but is actually exhilarating.
Sunday-Thursday - paint in Cedarburg
Thursday morning - Turn in paintings. Each artist can turn in their "best" two paintings from the Cedarburg days, and one painting from Port Washington.
Friday (June 27) - Come and see all the works on display!

Saturday and Sunday (June 28-29) is Strawberry Festival in Cedarburg. If an artist wishes, they can participate in "Paint the Festival." I won't be painting the festival this year, but it can be a fun experience. This festival draws tens of thousands of people and is the climax of the Plein Air Festival. Most of the artists will opt to leave any unsold paintings at the Cedarburg Cultural Center, to be on display until August 9.

I've also been asked how difficult it is to transport wet oil paintings. For those who aren't familiar with oils, they can take up to six weeks to dry. These panel carriers have come in very handy: https://www.raymarart.com/Wet-Painting-Carriers-Wet-Panel-Carriers-s/21.htm. I like to paint on panels when painting outdoors. The thicker surface keeps light from shining through from the back side.

Here is one of the paintings I worked on while here:

Cedarburg is a lovely community!

Be Not Afraid

This is my most recent painting in a series of Angels. There is a story behind it if you care to read further. If you are interested in this original painting, or a print of this image, please contact me at kathleen@kathleeneatonart.com. Thank you for looking!

 

Be Not Afraid

36" x 24"

www.kathleeneatonart.com

I started out this year full of good, artistic intentions. Nothing was going to get in the way. I joined some online art marketing sites and purchased books to inspire my growth as an artist. But I wasn't “myself.” My asthma had gotten worse, and I was susceptible to viruses and infections. I didn't feel like working, and, if you are an artist, you know that it takes focused attention, and some physical labor, for your work to be successful.

I'm sharing this, not for sympathy, but to raise awareness and maybe help even one person who might be similarly afflicted. For the past two or so years I've struggled with a variety of ailments. It started with a tooth infection. After two root canals and multiple antibiotics, I asked my dentist to pull the tooth. It wasn't his fault my roots are so long that they almost reach to my brain. (That's a joke, but it did take two hours to remove the tooth.) Healing was slow, but I thought I would finally start to feel better.

I continued to have a variety of issues like sinus infections, sore joints, tiredness, and low-grade fevers. I was starting to wonder if I had cancer, lupus, fibromyalgia, or whatever. Well-meaning friends and family told me to stop working in oil paints. I wasn't as productive as I had been in the past, but I didn't believe that the paint was the issue. I have an industrial, barrel air cleaner going constantly in my studio, whether or not I'm painting, and it keeps the air very clean. I take vitamins and probiotics, exercise (probably not enough), and eat fairly healthy, avoiding fast food and limiting alcohol.

Recently I saw an allergy specialist because my asthma continued through the winter when, in the past, I've only had a seasonal form of it brought on by molds and some pollens. She told me I likely have an overgrowth of yeast ("candidiasis") in my system due to the antibiotics I had taken, which could bring on all of the symptoms I was experiencing. Plus, being allergic to molds, I was probably having an allergic reaction to the yeast in my body.

The solution? Avoid sugar, alcohol, vinegar, aged cheeses, breads made with yeast, mushrooms, dried fruit, etc… basically anything that is made with a fermented process, or promotes the growth of yeast. It isn't easy, but I'm trying, and I'm starting to get my energy back. Even though I thought I was doing everything right, I had to take it a step further. It's not easy to avoid all the things that make yeast flourish in the body, but I'm doing the best I can. There are medications that can be taken to speed up the process, but there is nothing like good old-fashioned, conscientious avoidance of what makes you ill.

Of course, my body had other ideas about this new-found health. My gallbladder, which was already known to be somewhat faulty, decided it didn't like my new, healthy regime. So on top of all the other things that I've cut out of my diet, I also removed red meat and fats. I'm not avoiding fats altogether, but cut way back. And, to my surprise, my gallbladder pain is starting to get better too!

If you are reading this, and suffering from similar issues, I encourage you to try modifying your diet. It won't be an overnight cure, but your body didn't get that way overnight either. I read that it can take 3-6 months to reverse the overgrowth of yeast in your system. On the positive side, I've lost weight and am feeling better. I'm back on track and more productive than ever! I have 5-6 paintings in the works at this time, and several more that were recently finished. I've been surrounding myself with angels!

Why Paintings Should Begin From Life

This photo is a good example of why it's so important to paint "on the spot." Look carefully at this photo. As I stood in front of this beautiful home, I painted exactly what I saw. It was a quick study - about two hours of work. But I was able to get enough information to go back to my studio and finish this piece from the photos I took. If I had not had the time to set-up and paint here, the roof and sky would have been lost to me. If you look at the roof of the house in the photo, it fades out. That's what photos can do, especially with digital cameras. They are mini-computers with a mind of their own. Photos rarely record actual colors and depth. Granted, the light has shifted from when I began to work, but the light on the roof was fairly constant. This is the same reason I practice portrait work as much as possible from life. If you don't have the experience of painting from life, it is that much more difficult to paint from photos.

The Path to Life

Psalm 16:11

40"x30"

Oil on Canvas

You will show me the path to life,

abounding joy in your presence,

the delights at your right hand forever.

A New Vision: Painting Portraits of Your Loved Ones

Have you often thought that you would like to learn how to paint a portrait? Have you experimented in painting portraits and were unhappy with the results? I've been there! Portraiture is one of the most challenging subjects to tackle, but when you know the basics, it's much easier. I'm excited to be teaching this course for beginners at the Peninsula School of Art in Fish Creek (Door County), Wisconsin, this summer. In this class you will achieve the basic skills needed to paint faces from photographs, and learn how to apply these skills to different genre, including animals, landscapes and still lifes. Come and join the fun! Click here for more information: http://www.peninsulaschoolofart.org/pd1420.html.

A New Vision: Painting Portraits of Your Loved Ones

at the Peninsula School of Art, Fish Creek, WI

August 14-16

Playing with Paint

I finished the "re-work" of the painting I shared with you in my last blog post. I completely re-painted the entire 30 x 40 canvas so it would be consistent with what I wanted to achieve in the revised version. Some critics say that art should leave something to the imagination... perhaps "leave them guessing" might be a good way to put it. I've had some difficulty with this concept, and so I continue to examine new ways to create. I'm not saying that I don't like representational work. I absolutely love the work of Randy Ford (http://www.randyfordamericanartist.com/home.html) whose work is so photorealistic that it leaves me in awe. But I also love the soft beauty of an impressionist painting. I think this new work of mine is more along that line.

Psalm 27 - Revised version

When you compare it to the first painting I did, you can see the difference.

 

Psalm 27 - Original painting

The colors in the revised painting are more muted than in the original. The brush strokes are softer, thanks to the long-handled Rosemary brushes. And although it's still very much the same painting, I believe it leaves more to the imagination. I'm not making radical changes, but I do see the value in pushing myself to be more "uncomfortable" with my painting style. I would love to hear your thoughts on this.

En Guard!

I've been doing battle with my paintings lately. I've even considered taking a knife to one or two. I'm sure I'm not the only artist that revisits their work on occasion. I know that I have a strong tendency toward tightness in my paintings, and I often think about trying to loosen up more. So, I decided to try something radical. I ordered some Rosemary & Co. extra-long handled brushes. Using these forces me to fight the urge to include the fine detail that I so often want to add to my work.

This painting might look familiar to you. I had painted it not long ago, and recently put it back on my easel to think about for a while. After bravely deciding to make some changes to it, I carefully sanded the surface, and rubbed it with walnut oil to soften the paint. Then I pulled out my new "sword brush" and went to work. I hope to finish it soon and take a better photo of it to share with you.

Thank you for following my adventures!

Dance of the Sugarplum Fairies

I recently returned from an extended visit with family and friends out west. It was wonderful to see them and spend some quality time together, but I have to say that I'm happy to be back in my own studio. It has been a rough winter for many people across the country. We missed a lot of the bad weather (so far) by being in Phoenix for a few weeks. The highs were in the 70s most of the time. People laughed when I said I was looking forward to going home! I love the smell of fresh snow and how it seems to clean the air. I wish I could bottle it!

Here in the Upper Peninsula of Michigan our winters are longer than most. I love this time of hibernation and painting studio works, as opposed to plein air paintings outdoors. Not that I don't paint outdoors at this time of year... just not as often as during the summer.

Here is a painting I completed in Arizona. I think it reflects the brightness of the climate there.

Dance of the Sugarplum Fairies

Available at

DCF Gallery

19571 Mack Avenue, Grosse Pointe, MI
313.881.6922

Playing with Color

This is an interesting phenomenon. Most people don't realize how color interacts with other colors. This swatch contains only 3 colors - blue, yellow, and gray. When the gray dots are placed on the blue background, they join with the color and rest comfortably in a value that is slightly lighter than the dots. But when the same color dots are placed on top of the yellow background, they vibrate and appear to turn almost lavender. The dots did not absorb the background color, since the background was completely dry when I placed the dots on it. Artists must pay attention to the colors they are using in comparison to the surrounding colors if they are attempting to make a particular statement.

They Grow So Fast

Here is another painting that I have been given permission to share, now that the gift has been opened. I've been enjoying following these little darlings on social media as they grow in leaps and bounds. I've mentioned in earlier blog posts the importance of preserving a moment in time in a professional oil portrait. Photos don't last, but oil paintings, when done properly, will last for hundreds of years. I often think about the person who inherits a painting such as this one, and how their life will be different than this moment in time.

With Heartfelt Thanks

I am so blessed to have a loving and supportive group of friends and family whose encouragement helps me to continue to improve my artistic gifts. As I look back over the years of posts that I have not yet deleted, I do believe that I've shown a positive direction in my work. Thank you to all the people who have helped me to grow as an artist! I have fought with and cried over many of these works, but every one of them was completed with love.

There are many paintings that I haven't shared. Some of them are so personal that I wouldn't share them without permission. I was recently given permission to share this one. Ashley lost her life to suicide, but she continues to touch lives and hearts. The loving memories that her family and friends share can soften the pain of this great loss, but will never replace her. I cried for her family when I painted this. No parent should lose a child, yet I know a number of people who have. God Bless You!

My prayers are with you. I wish you all a very happy, healthy, and prosperous New Year!

 

http://www.youtube.com/watch?v=lvJRmdN9iyU

Merry Christmas and Happy New Year!

I hope your Christmas was filled with love! After all, it's not the gifts we give or get that is most meaningful, but the love we share with each other. As we usher in the New Year, I'll be thinking of you and wishing you a healthy, happy, and prosperous 2014!

Time to party!!!

Sometimes I Surprise Myself!

www.kathleeneatonart.com

Preserving History

I get very emotional when I paint portraits. I cry when painting posthumous portraits, and feel the joy of a newborn child. The emotion I most experienced in doing this painting was the love that this couple has for each other. This was painted on the occasion of a milestone anniversary. I don't always post the portraits that I paint because they are so personal, but I was given permission to post this. The actual size of this painting is 24" x 36."

Portrait artists paint for a variety of reasons, but I think the most important one is that we can preserve an image for "eternity." Sometimes this image is a moment in time, a memory of a loved one, or the "freezing" of a special life experience, like a wedding or the birth of a child. In this case, this couple enjoys experiencing Victorian life, and dresses the part beautifully. They participate in a variety of events, including fashion show fundraisers for various charities. I'm honored to have been asked to preserve this moment in time for them.

Hitting the Wall

My sincere apologies to those who are offended by this. This poor bird flew into my window and left its mark. I was compelled to memorialize it in a painting. I call it Hitting the Wall because I sometimes feel like this. You may call it The Holy Spirit if you prefer.

Hitting The Wall

Painting People Outdoors

I'm finally catching up on some "house keeping" regarding the many paintings I've done in recent months. This one caught my attention after not looking at it for a while, and I thought I would give my thoughts on the art of painting people outdoors.

This young lady was kind enough to model for a few of us during an outdoor painting session with friends. I don't do as much painting from life outdoors as I do in a studio, but certain things about this painting made me want to analyze it more.

This was a quick study done in about 2 hours, so it doesn't have the refinement of my commissioned portraits. As I recall, it was early August, and the late morning sun was beating down on the small shelter we shared in a park. Green grass, trees, and other vegetation surrounded us.

I must have been "in the zone" while I painted, as my colors in the skin tones are much more pronounced, vibrant, and reflective of outside sources than usual. In the photo below I point out specifics.

1. Note the blue reflection on one side of her face. I would say that this is reflected light from the sky, but the darker color at the top of her forehead (5) is likely the result of shade from the shelter that we were under. This leads me to believe that the blue reflections are coming from the sun shining off a light gray-blue roof that was on a building not too far away.

2 & 3. Her youthful glow reflected the many greens that were prevelant in the area we were in. Because we were sheltered, and the light was diffused, I attribute this to the strong summer sun all around us that didn't hit directly, but instead provided soft, colorful shades to appear.

4. Although she wasn't wearing light colors, there is still a reflected light that appears on her neck. That is probably from the roof reflection as well, but could be from the cement base of the shelter. I see that I captured some of the stronger reds directly under her chin and on her left cheek. I would like to think that this is part of the beauty that comes with youth, but it may be a combination of the sun penetrating her translucent skin, or the warmth of the day.

Because this was a group setting, it's not as easy to "set-up" a model to your exact needs or desires, but this was a good practice in painting from life en plein air. I hope to be able to paint Katie again in a more planned pose and clothing. She was a great model!

The combination of warm and cool colors on her face is quite fascinating to me. Here is a link to a site of Daniel Gerhartz, an artist that I admire, and who is a master at painting the figure outdoors:

http://www.danielgerhartz.com/Artist.asp?ArtistID=36476&Akey=HTDFQTVK

He recently launched a new video, The Beginning of Autumn, in which he speaks extensively to the joys and difficulties of painting a figure outdoors.

And finally, here is another link to an artist, Daniel Maidman, who's blog post here tells more about the process of painting outdoors:  http://danielmaidman.blogspot.com/2013/09/daylight-on-skin-filtered-through.html

Thank you for visiting!

The Perils of Plein Air Painting

I've just returned from back-to-back plein air painting events in Shorewood and Plymouth, Wisconsin. I'm not sure yet what drives an artist to participate in these types of events, but it seems to be somewhat of an addiction. Some of the challenges include painting in who-knows-what type of weather there will be when the day arrives, bugs, wind, time limitations, and potentially giving up a freshly painted, and still wet, painting if you are lucky enough to have it sold. I experienced all of these, and more, in my recent events.

The Shorewood event was the first of what many hope will be an annual event there. I am very grateful for the hard work that went into the planning of this event. But you can't plan for the weather. It rained the first two days, and was only about 60 degrees - although it felt a lot colder in wet gear. Yes, I did paint in the rain - you don't have much choice! My painting umbrella came in very handy and I kept large plastic bags close by to cover things as needed. Fortunately, when working with oil paints, the water tends to run right off.

I sold two of the three paintings that I submitted. The one shown here was held back as a thank you to the kind people who provided a place to stay. I hope to post more photos soon. It has been a very busy summer and I haven't been keeping up on posting my work.

The Plymouth event is a week-long painting spree. You can arrive any day that works for you, and paint as long as you want, but you can only submit 3 paintings to the exhibit. It is to your advantage to paint as many paintings as you can in a week, and choose the best 3. Unfortunately, a hornet decided to feast on me on the first day by climbing up the leg of my jeans and biting me at least eight times. I'm not afraid of bees and wasps, but they do put a damper on your enthusiasm when they are aggressive. And you would be surprised how many insects want to fly into a painting, only to find out that once they land, they are stuck in wet oil paint.

It was cold and windy when we were in Plymouth, so I'm not sure why the hornets were so aggressive. I had only completed 3 paintings when I decided that was enough. The event runs through the end of this week, but I'm thankful to be home and able to sleep in my own bed for a few days before going back for the reception on Friday evening. The paintings are only available for one night, so I hope you can make it to the reception at the Plymouth Arts Center from 6-9pm!

Be sure to check out more of my work at www.kathleeneatonart.com!

Brush or Painting Knife?

Yesterday morning I painted at a beautiful local spot that I've been wanting to paint at all summer. It was a warm and windy morning, but that side of this peninsular park was sheltered and shaded. I set up as always, and pulled out my paints and brushes. After working for a couple of hours on this painting, I decided I was trying too hard -- a common problem that I'm aware of, and working to overcome. So I pulled out a new canvas and started over using only a palette knife. In less than an hour I completed my second painting of the morning. So what do you think? Brush or painting knife?

 

Brush

 

Palette Knife

Keeping It Real

I can't believe summer is almost over! I've been doing a lot of work behind the scenes, but also attending a number of plein air events. I have always considered myself to be a studio painter for the most part, but plein air painting helps to keep me "honest" about my work. By painting from life, rather than from photos, you experience the true colors, values, lights and shadows that can be digitally altered in a photograph. The more I paint from life, the truer my studio paintings are. I just created a new "Collection" on my website called Plein Air Works. (http://www.kathleeneatonart.com) The paintings shown there are just a few of the many that I've painted in recent months and years. I wake up every morning asking myself, "What will I paint today?" And I thank God for the gifts he has given me.

This is a painting I did in Door County, WI, recently when we visited during the Plein Air Festival. I've painted this view before, but never completed it entirely "en plein air." It's an inlet on the east side of Door County, just south of the Cana Island Light.

Moonlight Bay, 11"x14"
$400.00, unframed

The Fog is Lifting

Is it wrong to want to re-paint the same painting over again? I always want to continue to improve my work, but this idea of painting over, or re-painting, works that I've already done is fairly new to me. It started when I spoke with the owner of a gallery my work is in, who said "Everyone loves this particular painting that you did, but they want to see it in a larger size." Not long after that, I got a commission from another gallery whose client wanted one of my works in a smaller size.

Mind you, when a work is re-painted, it's never exactly the same. I spoke with one artist who's opinion was that you can never improve on a "first" work. I'm not sure that is true, based on my recent experience. Here is one painting that I sanded down and re-painted over. I liked the first one (shown beneath it) and received some good feedback on it. But this version is the result of 3 different paintings on top of the original. When I first painted over the original, I was very disappointed in the result. It was dark and looked almost like a very old painting that needed cleaning. I thought to myself, "Either I fix it, or burn it," and "If it doesn't work this time, I'll consider it 3 strikes and I'm done with it."

Maybe it's the layering of paint in this work, or the addition of the silhouette of trees in the foreground, but I feel that I finally achieved the ethereal appeal of lifting fog that is so hard to reproduce. I'd love your feedback!

(below is the original painting)

Painting Fast

On Saturday I participated in my third annual Dockside Quick Paint in Fish Creek, WI. This annual event is in conjunction with the week-long Plein Air Festival sponsored by the Peninsula School of Art. The energy is contagious and the joy of painting with other artists is invigorating. Between 100-200 artists each year gather in about a 4-block area, surrounded by curious onlookers. A horn blows at 9am, and the artists must create a painting from a blank canvas in two hours. At 11am, the horn sounds again, and brushes must be put down.

I enjoy talking with people when I paint outdoors, but this competition is nerve-wracking. Most of the observers understand that, and stand back to watch the paintings come together, talking in low tones about the progress. It can be very encouraging to hear whispers of "look at how she did that" and "I love how the light hits there." Because of the size and detail in this work, I chose to work mainly with a pallet (or painting) knife with thick paint. The outcome is a much "looser" work than I normally would do, and it helps me to skip the detail and paint quickly.

I have to admit, I was shaking at the start, and was pretty focused throughout most of my effort. This is the first year that I painted right up to the second horn, and wished I had a little more time. I may have bitten off more than I should have with the complication of this piece in such a short time slot, but all-in-all I was happy with the outcome. And someone else was happy enough with it to buy it at the reception that evening. I hope they realize that oil paints can take a long time to dry!

Here is my painting, "Linger." It depicts a lovely little coffee shop in downtown Fish Creek, WI - in the middle of Door County. Thank you to all the volunteers who help make this event successful!