First Plein Air Day of 2014!

"Victorian on Cleveland"
10 x 10, Oil on Linen, Mounted on Panel
(c) Lesley Powell 2014

We finally had a beautiful, sunny spring day last week, and I could not wait to get outside to do some plein air painting. I organized my gear, loaded it in the trunk of my car, and was off. I was determined not to succumb to "driver-itis"--a common affliction of plein air painters, in which the painter drives around for hours looking for just the right scene to paint, and ends up not having any time left to paint! (There is definitely a life lesson here, in the perils of "driver-itis").

Painting gear in the trunk...

I was taking a short cut from my studio toward my intended motif, when all of a sudden I saw in front of me the most interesting Victorian house, with the afternoon sunlight creating wonderful shapes of color. Aha--this could work! I did some quick calculations. First, was there a safe place to stand, away from traffic? Could I shade my easel from direct sunlight? Check,  and Check! Best of all, I was near a kindergarten, which added two unique benefits: (1) I could hear the gleeful voices of little children (in the background!) while I painted, and (2) I knew that somebody was close at hand for safety's sake, in case I encountered a problem. Altogether a perfect spot!

I had a great afternoon. It is such a challenge, and so exciting, to see the colors outdoors in natural light. Can't wait for more...stay tuned! Meanwhile, you can read more about this painting here.

Renoir Returns!

"On the Shore of the Seine"
Perrre Auguste Renoir, c. 1879

Those of you who follow such things will recognize this painting as the "Flea Market Renoir".  The painting gained national attention in 2012, when a woman attempted to sell it at auction. She claimed that she had purchased it at a flea market in 2007 for only $7.00. Hmmmm. 

As you might imagine, an investigation ensued. The painting was authenticated as a Renoir, but was determined to have been reported missing from the Baltimore Museum of Art in 1951. Now, by order of the court, it has been returned to the Museum. It will be the headline work in a new exhibit opening at the Museum this coming weekend, on March 30, 2014--"The Renoir Returns".

Thus ends a long saga of intrigue. Sounds like a fun exhibit for anybody in the Baltimore area...

Fuchsia Fusion

Lesley and "Seacliff" painting
at Mere Designs

Fellow Charlotteans: You are cordially invited to "Fuchsia Fusion", hosted by Mere Designs, an interior design firm in Weddington. (Invitation below). The top photo shows me, having just delivered one of my paintings that will be featured at the event. 

The title "Fuchsia Fusion" is inspired by the Color of the Year--very a propos for a savvy design firm!  (You may remember that I wrote earlier about the 2014 Color of the Year, Radiant Orchid). I am excited to have been invited to participate in this event. Come join the fun, bring a friend, and wear fuchsia!

Sorolla's Sketches

"Italian Landscape"
(c) Sorolla, 1884 (4.5 x 9 inches)

I recently wrote about Joaquin Sorolla y Bastida (Sorolla), whom I called "the greatest Impressionist you've never head of". The post was so popular that I was inspired to write more.

"Italian Street"
(c) Sorolla, 1885 (5.5 x 3.5 inches)

I have been reading opinions of the critics who were reviewing Sorolla's work in the early 1900's. One consistent comment that really struck a chord with me concerns Sorolla's "sketches". By "sketches", I refer not to drawings, but rather to small, rapidly executed oil paintings. My tattered old book on Sorolla calls them "apuntes" ("small oil sketches"). Sometimes Sorolla referred to them simply as his "colour-notes".

"Levantine Landscape"
(c) Sorolla, 1888 (4.75 x 8 .5 inches)

I am a fan of small paintings, and I have always loved Sorolla's "apuntes". I was glad to read that I am not alone. One critic wrote in 1907 that Sorolla's little paintings that were "dashed off casually" were his most interesting. This critic thought that when Sorolla painted industriously and accurately, his work was "very respectable", but lost its special beauty. I sometimes feel the same way about my own paintings--it is hard to preserve the spontaneity and truth of a small plein air work when translating it into a large painting in the studio. (Not that I would dare compare myself to Sorolla, but it is comforting to think that others may have struggled with the same issues I do). Come to think of it, perhaps painting inside the studio is the root of my problem---Sorolla would have frowned on working in the studio, preferring at all times to paint outdoors in touch with the truth of nature.

"Street with Awnings in Valencia"
 (c) Sorolla, 1884 (5.25 x 3.75 inches)

Another critic called Sorolla's oil sketches "delightful little pictures--unsurpassably fresh".  But make no mistake--the fact that they were executed quickly does not mean that they were sloppy or poorly thought-out. To the contrary, the same critic noted that they "contained no touch that is not laid with science and feeling." It was Sorolla's wonderful technical and manual skill, plus his genius of color, that allowed him to capture such truthful impressions of the world around us. Enjoy!

PS: All quotes are from "Sorolla and his Critics" by Carmen Gracia, in The Painter Joaquin Sorolla y Bastida by Edmund Peel, (c) 1989.

Only Two Spots Left

"Villars from Afar"
8 x 13, oil on linen
(c) Lesley Powell

Only two spots left in the workshop in Provence this summer with Maggie Siner. I'm thrilled that we have such a great group of painters who will share this fantastic experience together. If you are interested in applying, please check out the website for details. You can also see photos from our 2013 workshop in a series of posts starting here.

"Ochre Woods"
13 x 7, oil on canvas
(c) Lesley Powell

I get excited just thinking about the trip. Recently I reviewed my favorite paintings from the 2013 workshop, and thought you might enjoy seeing a few of them. My thoughts are turning to whether we will revisit some of these familiar motifs, or whether we will explore even more new ground. Or both! 

"Field Study II"
8 x 8, oil on linen
(c) Lesley Powell

You can see some of Maggie's fabulous paintings from Provence here. Enjoy!

Springing Forward

"Waiting for a Friend"
8 x 10, oil on linen
(c) Lesley Powell

Our clocks will "spring forward" this weekend for the start of Daylight Saving Time, Surely spring weather can't be far behind! I just wanted to share a few paintings that conjure up warmer temperatures and beautiful outdoor days. Enjoy!

"Peony and Roses"
Private Collection
(c) Lesley Powell

"Picking Daisies"
10 x 8, oil on panel
(c) Lesley Powell

Another Studio Friend

I recently wrote about the mirror, and how it can be a painter's best friend. I have also been reflecting (pun intended--ha!) on the camera, and how I use it in my self-critique process when I'm alone in the studio.

Like my mirror, my camera is always close at hand when I'm painting. One thing I ldo is take shots of my work during the "drawing" phase. These shots serve two main purposes. First, they provide a different visual perspective. Because of this, they, like the mirror, help my eye catch errors that I might have become immune to during my work. Second, they help me remember the energy of the drawing. When my drawing is going successfully, I feel a little thrill of excitement. I try to keep this excitement going through the painting process, and to avoid losing the parts of the drawing that thrill me. Here's an image of my start on a recent painting:

Having an image of the drawing at hand as I work on the painting helps me recapture the joy of the start. It also helps me correct for areas where I might go astray during the painting process. If I'm liking the way I'm putting the paint on the canvas, I might also photograph some steps along the way, like this:

As I look back on this now, I can see some ways I deviated from the initial drawing. I think I liked the angle at which the left edge of the sheet was hanging out of the basket better in the drawing than in the painting (though the painting is more true to the actual set-up). Ah well, it will have to remain as it is, since I have finished the painting and it is dry. Despite this little "catch", I'm very pleased with the overall result. Here's the finished product: 

"Laundry Day"
(c) Lesley Powell
12 x 16, oil on linen

Stay tuned for more in the "laundry series", and for more about my little helpers in the studio...