Here are a couple of images and a short video from the plein air landscape painting course I did in the little village of Les Plans above Bex in Switzerland.
I was teaching solo and didn’t get a ton of my own work done. That said, it’s a great little spot for painting as there is a ton of diverse subject matter in such a short distance from the hotel where we stay.
Cows by a Barn, Switzerland. 20 x 30 cm, oil on panel.
Above Les Plans. 25 x 35 cm, oil on panel.
We’ll perhaps to do another course next summer as well. And we discussed an ‘extreme plein air’ course in the winter, with snowboards, where the students have to sign a gazillion waivers protecting us from responsibility when they die. Stay tuned for more information.
I tried to film a painting demo but was drowned out by the cowbells, here is the first fifteen minutes where I discuss selecting a view and setting up:
Below is a video of a band that played at our hotel called Le Sirop D’la Rue. I thought I would throw in a plug for them as the music was great:
On the way home to Zagreb we stopped in the small Italian town of Chioggia, on the southern end of the Venetian lagoon. Edgar Payne did some beautiful paintings there in the 1920s and I had always wanted to see it. The orange sails are mostly gone (we saw a couple), but it’s an amazingly picturesque little town for painters. It has three canals, like Venice, but two are ‘working’ canals, full of fishing boats and the whole place has a terrific amount of varying subject matter in a very small area. There are cars in the town too, so you can park in front of your hotel.
Cafe in Chioggia. 25 x 35 cm, oil on panel.
Fishing Boats, Chioggia. 20 x 30 cm, oil on panel.
Trudging through the snow in the Alps this February, I decided that my plein air equipment was annoyingly heavy and I resolved to lighten it. One major problem outdoor landscape painters have with regard to equipment is that we need it to be wonderfully light while we’re trekking around looking for views, and then we need it to be heavy and stable when we start painting.
I believe that some of this is also just a question of getting used to painting with a different set-up. When I first started landscape painting I used the heavy steel easels made by Fome in Italy. When I tried their aluminum version I found it to be annoyingly unstable. Now I use that same aluminum easel everyday without issues. In my quest for lighter gear I recently tried repurposing a plastic box from a hardware store and had the same experience. The first few times I found it moved too much and seemed unstable, but after sticking with it for a few weeks it works fine for me now.
Having equipment blow over in the wind is a bigger problem, but for most breezes the weight of the backpack is enough to stabilize everything. For heavier winds I think the best solution is to have some way of attaching a weight to the set-up when one arrives at the painting site, and finding said weight there. In nature this usually means finding a big rock and in cities it can mean buying a bottle of water.
Backup tubes of paint (just white, the three blues, and ochre)
It clocks in at around 11 lbs, or 5 kg, with the easel.
Everything packed up.
My focus here is really on having a painting set-up that works for me, the weight is completely secondary. For example, I won’t give up the ridiculous number of brushes I need to paint with. My Kunst & Papier sketchbook is also quite large, but I find drawing compositional ideas in a small Moleskine-sized sketchbook to be restrictive. (Kunst & Papier has much better drawing paper too).
I only carry titanium white, Roman ochre, cerulean, cobalt and ultramarine blue paint tubes with me. The fact is that the cadmiums last forever on the palette. They don’t dry out, and the tinting strength of Williamsburg is such that I use very little over the course of a day. I find there is almost never a reason to have back-up tubes in the bag. (Another solution is just to take half-empty tubes of everything).
I’m currently using Zecchi’s gesso-prepared wood panels in Europe, but I’ll switch to New Traditions’ C12 Claessens-on-gatorfoam when I’m in the US this summer. With the Zecchi boards I use those orange ‘Pony’ clamps to hold the lid of my pochade box and the top of the panel. With New Traditions, the clamps are too strong and will crush the gatorfoam so I switch to lightweight (plastic) photographer’s clips. The New Traditions’ boards are quite expensive, but I know people who are making their own version with their preferred primed-linen attached to gatorboard, dibond, or wood via sheets of Beva 371 thick film (glue) using a low-temprature iron. Linen mounted on gatorfoam is wonderfully lightweight and can be especially useful for avoiding overweight fees on airplanes.
Obviously, the night lights aren’t necessary unless I’m painting nocturnes.
There are a lot of cottage industry companies these days making ultralight backpacks (here is a good list). The problem with many of the ultralight packs is that they’re often huge for what is essentially a day trip for most plein air painters. They’re also usually minimalist with regard to add-ons and pockets in order to reduce weight. I find the bells and whistles to be really useful on a backpack. I also need a gazillion pockets to sort everything. Furthermore, having everything waterproofed is useful as medium leakage is a standard occupational hazard for landscape painters and it’s good to be able to protect the other items in the pack from such an event.
At the moment I’m using a Ferrino Zephyr 22 + 3. It’s not an ultralight pack as there is a frame that pushes the body of the bag away from one’s back which seems relatively heavy. (Frankly, the frame doesn’t seem that well thought out as it pushes too far into the main section so it doesn’t leave a great deal of space inside). I bought it after trying on a dozen or so backpacks in various stores as it was very comfortable and the pockets were the right size for my equipment. It’s been holding up well, but I plan on having one custom made after the summer. I’d like to organize the storage to fit my materials exactly, and in a way where I can quickly access the items I regularly need while working.
My current set-up in the field.
Many pochade box companies advertise a 30 second set-up time. That seems like a lifetime in plein air painting. My set-up is up and running in closer to 10 seconds.
That said, I’d like to try a carbon fiber camera tripod set up. While the Fome aluminum easels are lighter than most good carbon fiber camera tripods, I’m curious to see if I can get more stability out of carbon fiber. I wrote to Manfrotto/Gitzo and asked them if they could make some attachment parts for plein air painters, but they said they only design their equipment for photographers. (What ingrates. A landscape painter invented photography for them, and this is the thanks we get.) I considered writing to Fome too, but after they started putting rubber in the lids of their turpentine cups I have very low expectations of their design team.
There are some great American pochade box makers these days, but based on the weight of the boxes they’re making they all seem to have sherpas carrying their equipment around. I’m also more interested in the cigar-box-with-separate-mast system that I currently use. The pochade box model doesn’t work for sight-size, unless you’re ok with having your nose in your palette.
So, after not being able to find a strong, stable, and lightweight attachment system for a cigar box and tripod, I’m currently experimenting with making my own carbon fiber equipment at home. I’ll post the results in a few days.
A quick post with some of my paintings from last week in Tuscany.
Late May/early June is my favorite time to paint in the area south of Siena, as the wheat fields are at their best, just before the harvest. The Senese is probably one of the more picturesque places on earth, and it is arguably the place where the first landscape paintings since antiquity were painted in the Allegory of Good and Bad Government frescos by Ambrogio Lorenzetti in the town hall of Siena.
Fiat Panda. 20 x 30 cm, oil on panel.
Mario. 20 x 30 cm, oil on panel.
Castelmuzio. 25 x 35 cm, oil on panel.
Montisi (unfinished). 20 x 30 cm.
We were lucky with the weather. There were thunderstorms around Montisi (where we were staying) but with the big skies of the Senese we could see where they were growing and move around them.
Sant’Angelo in Colle #2. 25 x 35 cm, oil on panel.
On the Beach, Roccamare. 20 x 30 cm, oil on panel.
The last few paintings are of the sunset every evening from the farmhouse where we were staying outside of the village of Noce, near Tavarnelle val di Pesa. It’s part of a continuing series I’ve been working on which I intend on framing all together in one large frame. You can see some of the ones from last year here.
I was in Venice for a couple days this week to see friends, and I managed to get a few sketches done. Venice is only 3.5 hours from Zagreb and I really should go more often. I’ve been visiting the city for the last 23 years and I still am struck every time I arrive and watch the city function entirely with boats. It is really such a special place.
Morning on the Giudecca. 20 x 30 cm, oil on panel.
Rio della Croce. 25 x 35 cm, oil on panel.
Rio del Ponte Lungo. 30 x 20 cm, oil on panel.
We stayed on the Giudecca, so most of my paintings were done there. When I’m on a short trip such as this I find it much more productive if I don’t scout around too much. Tourist season is in full swing as well, so the main areas were very crowded for painting with an easel. I started an evening sketch near San Marco but gave up halfway through as the crowd got so thick I couldn’t see my view.