Plein Air Magazine recently interviewed me about how I got started and my thoughts on painting on location. You can listen to the interview at this link.
Eric is also the host of the upcoming 2017 Plein Air Convention in San Diego, which I will be attending as a faculty instructor.
I also recommend his earlier interviews with landscape / marine painter Don Demers (Episode 26), and editor / painter M. Stephen Doherty (Episode 5).
Thursday, October 27, 2016
Wednesday, October 26, 2016
I painted this creamer yesterday while waiting for my scrambled eggs.
|Creamer, gouache 3 x 3 inches|
It's in black and white gouache, painted over a yellow-ochre square patch that served as an underpainting. I allowed the underpainting to shine through here and there. I painted that patch a few weeks ago.
Sometimes it's nice to use paint that gives you a sealed or closed surface (that is, it won't reactivate if it gets rewet). On the lower left corner, I rubbed off the gouache paint with a damp rag to reveal the underpainting.
I could have used acrylic or acryla gouache for the underpainting, but in this case, I used casein for the yellow square.
Here's a very brief video with the voice of the diner's owner. If you're getting this post by email, you might need to follow this link to see the video.
Related previous posts:
Creamer in Casein
Transparency and Reflections (Creamer in Gouache)
Still Life in a Diner Booth
Nearly-Notan Gouache with Yellow Underpainting (VW Deakership)
Tuesday, October 25, 2016
|Study by Wilhelm Leibl|
When he was an art student, Hermann Ebers remembered learning to practice the "Leibl Way" of painting, based on the method of the German realist Wilhelm Leibl (1844-1900).
"Take a grateful model," his teacher told him, "for instance an old bearded head. Start off with a small spot and bring it forward until you think that you have got it."
From "Heinrich von Zügel as a Teacher" by Hermann Ebers
Thanks to Christoph Heuer for the translation.
Previous post on Carolus-Duran's Mosaic Method
Monday, October 24, 2016
Christie's in New York City is currently showing an auction preview of 19th century European painting.
Peder Mørk Mønsted (Danish, 1859-1941)
A View of Hornbæk, 1916, oil on canvas, 18 ¾ x 34 in. (47.6 x 86.4 cm.)
It includes this painting by Mønsted, which looks tight and photographic from a distance. But up close, it's a different story.
It's not fussily rendered at all. It's a good example of loose and rapid handling, rather than painstaking definition.
The grass textures are suggested by dragging the brush lightly over the canvas, first with the brush thinly loaded with paint, and later with thick, generous impastos.
For these tree saplings and thick grasses, he laid down that soft base layer of blended strokes and added thin light and dark strokes on top, with a few white sparkle dots on top.
The dark strokes seem to be painted over dry paint, so if he painted this on location, I would guess it was a three or four day painting.
For the figures and the fenceposts, his treatment is rather soft and understated. The combined effect of this variety of handling adds to an overall impression of naturalism.
The close-up details here are rather large image files hosted by Google Photo. Please let me know if the page loads OK for you and if you like the files this large.
------Christie's 19th Century European Art preview will go on through October 25th. The auction will take place on October 26 in New York at Rockefeller Plaza.
Sunday, October 23, 2016
It's raining in New York City. My train won't leave Grand Central Terminal for another 45 minutes.
There are no benches in the main area. I sit on the terrazzo floor at the edge of one of the hallways. The window of a tourist booth glows in the semi-darkness.
The man inside the booth leans through the ornate grillwork to arrange his brochures. Tourists pause to take photos on selfie sticks or to point their cameras up toward the ceiling.
This video takes you there. I squeeze various gouache tube colors onto the mixing surface of the watercolor set: perylene maroon, viridian, cad yellow, cad red, raw sienna, and burnt umber, plus white.
On the train ride home I add some finishing touches, such as white gouache dots for the white light coming from the window.
If you're getting this blog post by email, you'll need to follow this link to see the video.
Check out my Gouache Page on Pinterest
Follow me on Instagram
Watch my Gouache Playlist on YouTube
Previous post about Gouache Materials
Photos and history of Grand Central Terminal
Gouache in the Wild tutorial video
Saturday, October 22, 2016
|Spectrum 24 Call for Entries Poster (detail) by Justin Gerard|
The 24th annual competition of Spectrum Contemporary Fantastic Art is now accepting entries. For more than two decades, Spectrum has been the pre-eminent showcase of imaginative realism, which includes science fiction, fantasy, concept art, paleoart, comics, and imaginative sculpture.
The jury this year includes Christian Alzmann, Laurie Lee Brom, Mark Newman, Victo Ngai and John Picacio, all leaders in the field.
It's a collection that art buyers notice. The organizers kept the entry fees low. If you get a piece selected, they send you a complimentary copy of the big book anywhere in the world.
Also, the latest annual, Spectrum 23: The Best in Contemporary Fantastic Art is back from the printers and now available.
Spectrum 24 entry info
Posted by James Gurney at Saturday, October 22, 2016