Marc Dalessio

Here are a few photos from our ten day plein air course at the beautiful Tenuta Marsiliana in southwestern Tuscany.  We’re trying to find the most picturesque spots in central Italy for these workshops.

Dawn painting at the Marsiliana.

On the road up to the castle.

A little ruined church we found nearby.

Plein air on Monte Argentario

Final critiques at the castle.

Overall the trip was a great success. We had a couple of bad days with the weather, but there was a quick portrait workshop to substitute.

Next year Daniela and I will start the workshops again in May to catch wheatfield season. Hopefully somewhere south of Siena. I’ll post the dates and details as soon as I find a suitable location.

Edward Seago. Strand on the Green, oil on masonite, 11 x 16 in.

I’ve always been a tremendous Anglophile, with a great reverence for all things English.

Edward Seago. Lotts Road Power Station, oil on canvas, 20 x 26 in.

As we all know, Constable was the first great plein air painter. The story of his placing the violin on a fresh green lawn to prove a point about the difference between the art market’s demand for brown, Rembrandtesque landscape paintings and his own observations about color has long influenced the acid greens in my painting.

Edward Seago. Ponza. 20 x 30 in. (thanks Bob!).

In the 20th century England produced some of the finest plein air painters anywhere. One of my favorites is Edward Seago. I was in London this weekend and saw many of his paintings in person in galleries around town. The variety of the paint handling is phenomenal, from heavy palette-knife impastos, to half-dry brush flicks on bare canvas, to glazes clearly done in the studio over dry paint. In person, it also looks like he either prepared his panels and canvases with heavy grounds, or he painted over old paintings, because a lot of the brushwork under the final layers doesn’t appear to have anything to do with the work we see.

They say there are 5 things you have to get right in painting: value, hue, chroma, edge and shape. When you look at Seagos in person you realize the power of paint handling and the importance of variety in the actual paint application.

Edward Seago. Centaur, Millie and Edith May, oil on board, 24 x 36 in.

Jeremy Taylor of the Taylor Gallery in London generously let me peruse his large collection of Seagos in person. And later, while looking around on the web, I found a number of good online archives of Seagos with searchable, zoomable, images. Christies, Sothebys and Richard Green for example.

Seago’s subject matter is also lots of fun as he didn’t shy away from contemporary subjects and it’s great to see the plein air views with cars from the ’40s and ’50s.

Edward Seago. Life Guards on the Mall, oil on canvas, 26 x 36 in.

I’m always trying to convince my students of the value of a low horizon line. Seago is a great example.

Edward Seago. Dordrecht, Holland, oil on board, 12 x 16 in.

Seago traveled extensively, painting from Hong Kong to the Antartic. His snowscapes from down south really make you feel cold, and the Royal Collection has a number of zoomable images online.

My solo show in Sag Harbor (has now closed) at the Grenning Gallery.  It was a show of mostly smaller works from the last year and a half, as well as some of the larger plein air paintings from Montefalco this summer.

You can see some of the work on the preview page of their website.

As a kid I lived for a few years in the Fiji Islands and have always had strong memories of the beauty of the place. Recently I was invited back for a wedding and jumped at the chance. We stayed on the east side of the main island, which wasn’t my old turf, but is probably the more picturesque side (and it is certainly the drier side).

Here are a few from Musket Cove Resort where the wedding party stayed, and Namotu Island Resort where we went for lunch a couple of times. Musket Cove is on a large island with lots of subject matter (well, mostly beaches and palm trees). Namotu is an amazingly beautiful little dot of sand next to some of the best surf breaks in Fiji.

From the Point, Manolo Lailai. 25 x 35 cm, oil on panel.

Airport Beach. 25 x 35 cm, oil on panel.

Boats at Musket Cove. 20 x 30 cm, oil on panel.

Beach on Ratu Nemani Island. 20 x 30 cm, oil on panel.

The Beach at Namotu. 25 x 35 cm, oil on panel.

Jet Ski at Namotu. 20 x 30 cm, oil on panel.

I hope to get back soon with real equipment and do a focused painting trip (though that 23 hour flight in steerage is quite brutal).

I’ll be doing a one-day plein air workshop in Sag Harbor for anyone in the neighborhood. The date is Wednesday the 25th of August from 10am to 5pm. For sign-ups or more information, you can use the Hamptons Studio of Fine Art website or call 631-603-5514.

Many of the posts on this blog are about my travels, as I find it more interesting. However, I do live in one of the more picturesque places around and paint here quite often. The problem with plein air painting in Tuscany is that the Chianti region, where I usually stay, is actually terrible as far as subject matter goes. The small olive trees are fine if painted up close, but the little blue blobs are really unsightly when seen from afar. And don’t get me started on vineyards… parallel lines from a distance?

That said, Tuscany also has some of the best plein air subjects in the world, especially the rolling hills and wheat fields south of Siena. My other favorite spots are the Mugello, north of Florence, and Maremma, along the coast to the southwest.

Here are couple from a trip to the Val d’Orcia:

Vineyards at Poggio alle Mura. 25 x 35 cm, oil on panel.

The Old Station at Bibbiano. 20 x 30 cm, oil on panel.

The Gulf of Baratti has to be one of the more beautiful bays in Tuscany, though it can be a bit too pretty.

The Chapel of San Cerbone at Baratti. 25 x 35 cm, oil on panel.

We stayed with friends on a couple of July weekends and I ended up painting around the house a lot to avoid the crowds.

Barbeque and Well at Torrenuova. (Needs to be cut down still).

The Bridge at Torrenuova. 20 x 30 cm, oil on panel.

I also painted a bit further north, on the coast near Bolgheri.

White Road at Palone. 25 x 35 cm, oil on panel.

Stone Pines at Palone. 30 x 40 cm, oil on panel.

Palone, the Beach. 20 x 30 cm, oil on panel.

And lastly, I painted a bit in the hills above Lucca, which was new to me this summer and is an area I would love to paint more thoroughly.

Bagni di Lucca. 20 x 30 cm, oil on panel.

Clothes Hanging at Benabbio. 20 x 25 cm, oil on panel.

Here are a few plein air paintings from stays on a friend’s estate over the last couple of weeks.

Castello di Reschio. 20 x 25 cm, oil on panel.

Fields and White Road. 30 x 40 cm, oil on panel.

Road in the Woods. 25 x 20 cm, oil on panel.

There is a tent they use for events which I was quite partial too. Here is a sketches from the north side, trying to get the effect of the light coming through the cloth.

The Tent, Reschio #2. 20 x 30 cm, oil on panel.

And a few more from the area:

Reschio. 20 x 30 cm, oil on panel.

Cypresses. 35 x 25 cm, oil on panel.

Poplar at Umbertide. 25 x 20 cm, oil on panel.

There is a large exhibition of the work of Isaac Levitan on at the moment in Saint Petersburg to commemorate the 150th anniversary of his birth. Unfortunately I wont be seeing it as it closes tomorrow. I did manage, however, to pick up the catalog directly from the printer. There are a lot of paintings I had never seen published before and overall the reproductions are quite good, even if the catalog itself is rather petite.

Anyways, if you’re interested, you can contact the printer directly here. It was €38 with shipping to Italy.

Here are a few paintings from my trip to Montefalco. Again, one of the more picturesque spots on Earth. I’ve been trying to update my geotagged landscape archive so people can take advantage of all the hours I spend scouting around for views (see my earlier post if you have no idea what I’m talking about).

My painting companions this time were Greg Horwitch, Ebba Heuman, Alex Rooney and Rupert Alexander (if anyone was wondering why it’s been raining in Italy for the last two months, it’s because Rupert has been trying to paint outside since early May).

This time, I was very partial to the Clitunno river which runs north through the valley.

Fig Tree on the Clitunno at Casevecchie. 25 x 35 cm, oil on panel.

Tractor Bridge on the Clitunno. 25 x 35 cm, oil on panel.

Another Tractor Bridge on the Clitunno. 25 x 35 cm, oil on panel.

We were there for wheat field season. Always one of the best times for plein air painting. Here are a couple of larger paintings of the fields.

Wheat fields below Montefalco. 90 x 110 cm, oil on linen.

Wheat Fields on the Trasimeno. 80 x 100 cm, oil on linen (work in progress).

Our scouting trips took us quite a ways from Montefalco. Here are some sketches from further north.

Sunset, Trasimeno. 20 x 30 cm, oil on panel.

Hay Bales at Montalera. 25 x 35 cm, oil on panel

Poggio delle Corti and Perugia. 60 x 80 cm, oil on linen (in progress still).

The holy grail of landscape painting is a foreground, middle ground and background which compose together beautifully. The combination of the flat central valley, rolling hills, and mountains in this part of Umbria, combined with wheat fields, poplar trees, and picturesque hilltop towns, makes this one of the best areas to paint in Italy.

Here are some action shots from the trip:

Painting meter large canvases with a cigar box.

Greg at Casevecchie.

Ebba on Lake Trasimeno.

Alex below Montefalco.

Rupert scouting the wheat fields.

Me getting up over the olive trees near Trevi.

Zecchi is now selling the medium I recommend pre-mixed to save painters the trouble of making their own. The recipe is the usual: 1 part Canada balsam cut with 1 part turpentine, and then that mixture is added to 2 parts Zecchi sun-thickened linseed oil.art. The item number is 3882 ” Medium Antichi Maestri” and the price is €12 for a 125ml bottle and €22,50 euro for the 250ml bottle. (They ship abroad too, check out their website for more details).

I tried to get them to name it after Theodore de Mayerne or to call it the “Cecilian medium” as Charles Cecil developed a similar version (adding mastic varnish) based on his reading of de Mayerne’s manuscript on 17th century painting techniques, but no dice.

‘Old Master Medium’ is so trite.

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