Recent Plein Air Paintings (Ireland, Croatia, and Italy)

Plein air painting of Colclough Walled Gardens near Tintern Abbey, Ireland.

Colclough Walled Gardens #1. 20 x 30 cm, oil on panel.

I’ve been moving around a lot and haven’t been posting much, so here are paintings from the last three months. The first few are from the AITO plein air painting festival in Wexford, Ireland. It’s always a great to be back in Wexford and they always find us great spots to paint. I focused on gardens this trip, as subjects to enlarge in the future.

Most of these were already posted on my Instagram feed.

Plein air painting of Colclough Walled Gardens near Tintern Abbey, Ireland.

Colclough Walled Gardens #2. 20 x 30 cm, oil on panel.

Plein air painting of the Walled Gardens at Woodstock Arboretum near Inistioge, Ireland.

Walled Garden, Woodstock Arboretum. 20 x 30 cm, oil on panel.

Plein air painting of Curracloe Beach, Wexford.

Curracloe Beach Painters in the Rain. 25 x 35 cm, oil on panel.

I left the next three in Ireland for the exhibition and didn’t have a chance to photograph them properly, but here they are in the field:

Plein air painting of Irish cows.

Ballymore Cows. 20 x 30 cm, oil on panel.

Plein air painting of boats at Passage East, Ireland.

Boats at Passage East. 20 x 30 cm, oil on panel.

Plein air painting of the bank holiday weekend in Wexford, Ireland.

Bank Holiday Weekend in Wexford. 30 x 20 cm, oil on panel.

These next few are from a weekend in Zadar, Croatia where we went for a friend’s wedding:

Plein air painting of the Riva in Zadar, Croatia.

Morning on the Riva, Zadar. 20 x 30 cm, oil on panel.

Plein air painting of a cafe in Zadar, Croatia.

Cafe in Zadar. 30 x 20 cm, oil on panel.

Plein air painting of the Riva in Zadar, Croatia.

Zadar, the Riva. 20 x 30 cm, oil on panel.

And finally, the paintings below are from the last couple months in Italy. I have a lot of studio work and commissions on the burner, so I haven’t been painting outside all that much.

Plein air painting of a garden scene above Florence, Italy.

Lunch in the Garden, Vicchio di Rimaggio. 25 x 35 cm, oil on panel.

Plein air painting of Jory Glazner painting near Vicchio di Rimaggio.

Jory Glazner painting behind the Villa Schneiderf. 20 x 30 cm, oil on panel.

Plein air painting of an afternoon at Vicchio di Rimaggio.

Afternoon Tea, Vicchio di Rimaggio. 20 x 30 cm, oil on panel.

Plein air landscape painting of the Grand Canal in Venice.

Grand Canal sketch. 35 x 25 cm, oil on panel.

Plein air painting of the Grand Canal from the Accademia in Venice, Italy.

Grand Canal from the Accademia. 20 x 30 cm, oil on panel.

Plein Air Painting in Rain

Plein air landscape painting in heavy persistent rain in Plyos, Russia.

Painting in the rain in Plyos, Russia.

There are inspiring natural effects which take place in weather which is not really suited to plein air painting. I wrote earlier in the year about painting in snow, rain is another such condition. For cityscapes and roads especially, painting while it is raining can offer reflections in the wet pavement which make for some wonderful designs and unusual compositions.

Plein air landscape painting of Broad Street in Charleston SC.

After the Rain, Broad Street, Charleston. 12 x 8 in., oil on linen.

Plein air painting of the Fin-de-Siècle Museum in Brussels.

The Fin-de-Siècle Museum in the Rain. 30 x 20 cm, oil on panel.

There are, however, difficulties with using oil paint in heavy or persistent rain. First, when the painting surface is covered with a sheet of water it can be difficult to get the colors to stick. Then poorly mulled paints can bleed with the water. Next, heavier drops of water can hit the delicate paint layers, leaving small craters in the color or washing away the paint altogether. And finally, with enough perseverance, one discovers that the the old adage ‘oil and water don’t mix’ is only partly true: Oil paint will eventually mix with the water to form a thick emulsion which can be difficult to control.

The obvious solution to this is to keep water off the surface, either by painting somewhere with shelter or to carrying one’s shelter to the spot. A top-hinged trunk door can work very well for painters with one on their car (thanks Roy), as shown in this photo of my set-up under the trunk of a car on the Hardangerfjord:

Using the trunk door of a car as a plein air painting shelter.

Using a trunk door as a portable painting shelter in Norway.

Recently I built a small, lightweight rain-bonnet which attaches to my easel above the panel. As I wanted something that would fit in my backpack the set-up is quite small. It works fine in normal vertical rain, but isn’t all that successful with the horizontal and upward-directed rain that you get in places like Ireland. Once I’ve tweaked it to better functionality I’ll try to get them out to the public.

Plastic cover for landscape painting in the rain.

Rain bonnet for plein air painting in rain.

Another option is an umbrella. I have an Easyl umbrella from Artwork Essentials, which is made from opaque cloth and designed for blocking sunlight, not rain. The problem with an opaque or dark umbrella in the rain is that it blocks what little light is filtering down from above. This can be especially problematic when painting in cities or forests where much of the ambient light is already blocked from the sides. A better solution would be a white umbrella like the ones made by Best Brella. While I have no personal experience with their products, I’ve seen painters with other clip-on white umbrellas and they let in adequate light for keying values properly.

Photo of a plein air painting umbrella blocking too much light.

Dark umbrellas block too much light in overcast conditions.

A serious problem with painting in heavy rain is that it can absolutely ruin materials. For brushes, the thickness of the emulsion and water sinking into the wood handle can expand the metal ferrule which, in turn, causes hairs to come out and destroys the form of the head. When working outside in dry weather I can get away with washing my brushes once a week if I use them everyday. When painting in heavy rain I find I need to get the paint and water out of the brush at the end of every day, and even then some don’t make it.

I haven’t had problems with wet panels warping, but I have seen water soak the linen and cause it to shrink. This can lead to bending of the stretcher bars as seen in Leo Mancini-Hresko‘s photo below. The solution would be heavier stretcher bars with a crossbar, and/or restretching the canvas after the painting is finished.

Photo of a warped canvas due to shrinking linen from painting in the rain.

Warped stretcher bars due to the linen shrinking while drying.

As for rain clothes, there are better sites to peruse for gear. I’m personally a fan of Gore-Tex Paclite as it’s cheaper than, and doesn’t breath as well as, the fancier alpinist/backpacker stuff. I find that clothes that don’t breath well are better for us stationary landscape painters, yet some venting is better so it doesn’t feel suffocating or clammy. I have an old Patagonia Paclite jacket that I’ve used for a number of years if I know it’s going to rain. I wash it and reapply Grangers waterproofing once or twice a year. As I mentioned in the post on winter clothes, alpinist and climbing jackets are stitched together in a way to minimize the pull on your sleeves when you lift your arm. This works better for painters than normal jackets as we also keep our arms up much of the time. A dark and/or blue jacket is also a good idea for painting en plein air as it wont reflect a strong color back onto the canvas if the sun comes out.

I’ve experimented recently with a lightweight Helium II from Outdoor Research and one of the new Derzimax jackets from Bergans of Norway. Neither was particularly impressive, the Helium packs small and weighs little, but it wets out quickly and feels clammy. The Derzimax jacket keeps me dry, breaths well (which can feel cold when stationary), dries quickly, but weighs four times as much as the Helium, and twice as much as my Patagonia. 

Painting in freezing rain can be a problem as one needs all the warmth of insulating layers, with a waterproof shell on top. In the past I found the only way to do this was with the aforementioned layers or a very heavy parka, both of which are constricting and heavy, and annoying to paint in. This year I picked up a lightweight Crux eVent down jacket from Up and Under in Cardiff (great UK gear store), which should be both warm and waterproof for painting in winter rain. I let you know how it works out. eVent is suppose to have problems if it gets dirt or grease on it, and I assume the same would go for oil paint, but it was the only lightweight, articulated-shouldered, one-jacket solution I could find.

Plein air painting in the rain on Curracloe Beach, Wexford.

Painting in the rain on Curracloe Beach in Ireland.

For rain pants I use a Berghaus Paclite shell that can be found pretty inexpensively on

Testing the waterproofness of Meindl and La Sportiva shoes and boots.

Bathtub test: Meindls (bottom) didn’t let water in after hours, La Sportivas (top) leaked like sieves.

It took me forever to find actual waterproof shoes that were light enough to travel with. While I love the grippy soles of La Sportiva approach shoes and trailrunners (red Frixion soles), their Gore-Tex iterations are a trainwreck . When wearing them my socks will get wet after crossing a lawn covered with dew. I’ve had good luck with Meindl boots so I’ve been using their X-SO 30 shoes with Gore-Tex Surround and, combined with waterproof gaiters, they keep my feet dry for hours in the rain. The downside to Meindl is they can be hard to find, expensive, and they look like they were designed by a 1980s glam rock group. On the plus side they’re still made in Germany and last for years.

Photo of a custom-made cuben fiber backpack for plein air painting.

Custom cuben fiber backpack for painting equipment.

For keeping my gear dry, I had a Cuben Fiber (now Dyneema Composites Fabric) backpack made by an artisan in Florence. My main interest at the time was actually to keep medium and turpentine from getting out of the backpack, should something leak. But the Cuben Fiber is completely waterproof, so my paintings and brushes are protected once they get back into the bag. I was a bit concerned about how Cuben Fiber would react with the medium and especially with the turpentine, but it’s worked great so far. I’ve used it daily for six months with turpentine and medium on the inside and outside of the bag there are no ill effects. It wipes off easily too.

If anyone has other thoughts or suggestions, I’d love to hear them in the comments.

The Donald and Kim Jurney Traveling Fellowship

Donald and Kim Jurney Fellowship
Donald Jurney was a big influence on me when I was starting out as a landscape painter. He and his wife have recently started a fellowship which offers $5000 to any emerging or mid-career representational painter for travel to Europe, to study and paint while there. There is also the possibility of an exhibition in Massachusetts in the year after the trip. You don’t have to be a landscape painter, but you do have to be an American resident over 21 years of age. The deadline is December 15th of every year. Best of luck to all the applicants.

For more information, check their website.

England and Wales

Plein air painting of a painter in the Woodford valley in Wiltshire.

Hazel Morgan painting the Woodford valley. 25 x 35 cm, oil on panel.

Here are some images of plein air landscape paintings from this month in England and Wales. I was teaching a weekend plein air workshop in London for LARA, and then a week-long course in Wales for the Welsh Academy of Art. In the interim I painted with my old friend Hazel Morgan in the countryside around Salisbury.

Plein air painting of cows in Lower Woodford.

Woodford Cows. 20 x 30 cm, oil on panel.

Plein air painting of fields in Wiltshire.

Late Afternoon by the Avon. 20 x 30 cm, oil on panel.

Plein air painting of Salisbury Cathedral.

Salisbury Cathedral. 20 x 30 cm, oil on panel.

One thing I love about painting in the UK is how many talented plein air painters there are to meet up, talk shop, and paint with. While in Wiltshire (and Dorset) I had a couple of painting afternoons with Charles Church and Oliver Akers Douglas.

Plein air painting of a painter on the cliffs in Dorset.

Charles Church painting cliffs in Dorset. 30 x 20 cm, oil on panel.

Plein air painting of the Durdle Door in Dorset.

The Durdle Door, 35 x 25 cm, oil on panel.

plein air painting of barley fields above Tisbury in Wiltshire.

Barley fields above Tisbury. 20 x 30 cm, oil on panel.

I intend to write a blog post about techniques for painting in the rain, and hoped to test new gear in the UK. Unfortunately we had very little rain, and blue skies for much of the time. I’ll have to wait for the Italian autumn to try my new set-up.

Plein air painting of sheep in Wales.

Sheep on a Welsh Hillside. 25 x 35 cm, oil on panel.

Plein air painting of children playing under a tree.

Children playing under a tree. 20 x 30 cm, oil on panel.

Plein air painting of Narrowboats on the Monmouthshire and Brecon Canal

Narrowboats. 25 x 35 cm, oil on panel.

Plein air painting of Tretower in Wales.

Tretower Morning. 20 x 30 cm, oil on panel.

Painting studies of a Patterdale and Whippet

Patterdale and Whippet studies. 20 x 30 cm, oil on panel.

Painting of cows in the Brecon Beacons National Park, Wales.

Brecon Beacons cows. 20 x 30 cm, oil on panel.

Lastly, here a couple of paintings from my weekend in London. I painted with Roy Connelly and scouted extensively for views with both Roy and Julian Merrow-Smith.

Plein air painting of the Prince Albert Bridge in London.

Prince Albert Bridge, 30 x 20 cm, oil on panel.

Plein air painting of Cleopatra's Needle in London.

Cleopatra’s Needle on the Embankment. 20 x 30 cm, oil on panel.

Short Tuscan Trip

Plein air portrait of a Tuscan farmer with his chickens.

Mario and his Chickens. 20 x 30 cm, oil on panel.

Here, quickly, are a few small paintings from last week in Tuscany. I was there doing some organizational stuff, and didn’t have a lot of time to paint. I was also enjoying a bit of a break after all my work for the South Carolinian show in May.

Portrait of a young girl in a Tuscan farmhouse.

Portrait of a Young Girl. 35 x 25 cm, oil on panel.

Plein air painting of a painter in Tuscany.

Ben Painting at the Torricella. 25 x 35 cm, oil on panel.

Plein air self portrait.

Outdoor Self Portrait. 35 x 25 cm, oil on panel.

I painted only portraits and still-lifes. As I’ve wrtten before, the Chianti region of Italy is one of the most beautiful places in the world to visit, but the ‘big views’ aren’t great for plein air painting. The small olive trees make for poor compositional elements, the hills are too close together, and the ubiquitous vineyards consist of parallel lines, which landscape painters do best to avoid.

Plein air painting of an espresso with a scoop of vanilla ice cream.

Affogato. 20 x 15 cm, oil on panel.

Plein air painting of a Florentine steak.

Fiorentina. 25 x 35 cm, oil on panel.

Still life of peaches and ice cream.

Peaches and Ice Cream. 20 x 30 cm, oil on panel.