Revisiting

Seeing that I have been a little grounded and spending more time in my studio this winter, I have begun to revisit some scenes that really caught my eye initially.

In most cases the scene which was already painted has been sold but the scene itself still looms in my head. So along with a digital of the original painting as well as a photo or two from the original location I delve back into the place I was at, not so much looking to copy the painting but revisit the scene and explore it a little more. There are some scenes that should be painted numerous times, sometimes just the location at different times of the day and season is enough in itself as in Monet's Haystacks or Cathedral paintings, or looking at the same scene from a totally different design, either way is desirable.

Today I started an 18" x 24" copy of this Sonoma scene. This courtyard is absolutely gorgeous so naturally it has been rattling around in my head since October.

Completed version.

"Bella Giornata" 18" x 24" oil on linen panel

This is a sunrise scene from Apalachicola that is a 16" x 20" copy of the original which was done as a 12x16 on location.

On that same note I have posted a few paintings of our Quonset Hut, which should have been turned into my studio years ago but instead needed to be recycled, a very sad day when that happened.
This kind of documents its life story.

Apalachicola in March

I was fortunate enough to head down to Apalachicola Florida last week to give a 4 day Plein Air workshop. The weather was not quite what I had hoped it would be but it was delightful just to be out of the snow of the midwest.

Thanks to Paulette and Joe for all of their behind the scenes work in putting this together!

Apalach and Eastpoint have quite a few great spots to work from and always some pretty amazing sunsets and sunrises to boot. Took tons of photos as expected.

I'll head back down in a couple of weeks to participate in the Winter Park Plein Air event as well as the Forgotten Coast event which I have done for the past 3 years now. Good way to start out the Plein AIr season.

Couple of pix from the workshop.

HOLY CRAP Let the games begin

Well it has started.

The banter has begun.
The results for those who were fortunate to get into Easton always brings a higher level of banter to say the least.

I have been pulled into and even trapped in a three way e mail bash.
Of course most of the comments have been aimed at me but I am a big a guy and I can take it.
They will pay later, let that be known.

One of the artists even stepped away from he easel long enough to throw this together.

Catching Up

This winter I have spent a great deal of time in my studio.

This is a tad bit unusual for me.
I do enjoy being out on location and with my summer travels usually spend very little time in my studio if any at all.
I was happy to read that Sorolla felt he did better out in the field with the model at hand versus in the studio, naturally I took some solace in that.

However it has been very nice this winter to actually get a little caught up on pieces that have been lying around the studio. I am not one to complete my plein air pieces thoroughly out on location. I do like to get away and step back from them so to speak, getting a fresh look and making any tweaks necessary to complete them as a painting versus a rendering of what I actually saw at the time.

While being indoors I have enjoyed simplifying some overly busy passages previously stated on my quest to always trying to see things more clearly and simply.

Some recent samples below.

The need for a Larger Piano

In my studio I have a small Baby Grand, which at one time actually worked, which my son Tysen wished it still did.

I got it from Susan Lyon, Scott Burdick's better half, back in Oak Park IL many years ago now. I have used it as a prop and have painted it on numerous occasions. Great shape. As of late it has become a glorified workspace.

I find myself using the spot designed for holding the music upright as a place to display any inspirational books which are front and center in my mind at that time that I wish to have out where I can see them and draw from them.

Since the Edgar Payne Show in Pasadena last fall, then the Fechin Exhibit in the Twin Cites last month to now the most recent influence thanks to a dear friend. A new book on Frank Tenney Johnson. Beautiful! I think I need a bigger Piano!

Amish?

I have been painting the Amish in my area, the southwest corner of Wisconsin for the past 10 years. Being from Chicago and having no previous connection to them before moving here, I must admit I am fascinated by them. It is almost like stepping back in time, kind of like going to Monhegan Island but even further back.

Ever since I first starting driving these back country roads in Vernon County I was smitten by the Amish and their way of life. I have painted them from the edge of the road en plein air. They do not want to have their faces painted and have not allowed me permission to enter their property and I did my best to respect their wishes. I would love to set up and paint some of these little children's faces in their homes and surroundings but I don't think that is going to happen.

Now as the years have gone by, over a decade now, I look back and notice some of these same paintings are still around my studio. Some have sold but more have not.
They have been shipped out to galleries and brought back never quite finding a home. I do believe they are good paintings, Lord knows I have burned and destroyed my share of dogs over the years.

As an artist you tend to paint what inspires you for one reason or another. Sometimes one's up bringing comes into play, documenting your world around you, beautiful settings, or color harmonies, so many things to choose from, however again sometimes you are driven by certain images and not sure why. I assume I would have painted even more amish scenes if I had a market for them. With 4 kids to feed I tend to be a little more selective these days versus a decade ago. Notice I did say a little more? It is still a challenge for me to paint what may be sale-able versus what my heart and mind are drawn to.

So the question arises in my mind, what is it about the Amish, why this need to capture them in paint?
I often wonder if anyone else shares in my fascination with them and their lifestyle, at least in a painting that is?

Quest to Simplify

I have had a dear friend of mine point out while looking at my recent work, "As I look at your paintings I see some East coast and West coast influences, but not quite firmly in either camp. The east coast wants more intricate detail, and the west coast more vibrant color and color vibrations." 

While you are usually fighting to define your own camp, I have found it is usually somewhat overridden by your influences. I have read it took Sorolla 20 years to define"Sorolla-ism". I guess I take some comfort in that, however  it still is very unsettling while being on that road. There are many influences that creep into my head on a daily basis, and depending on my mood or subject matter in front of me, these can change quite easily. Again this can be a little unsettling.

So how does one break habits and simplify at all costs, if that is where one's heart lies?
The Fechin Exhibit I saw a month ago is still etched into my brain and I am sure that what I saw there is causing this need to not render so much and get to the essence of it without describing everything and to concentrate on the big picture, what is truly important and to let the secondary areas serve as just that, secondary areas all in support of the main big picture?!

It's a long damn road.

Some recent pieces-
http://www.kendewaard.com/Recent.htm