I’ve put up information for my two 2015 plein air landscape painting workshops on my workshop page. One is in Europe and the other is in the US.
The first workshop of the year will be in Les Plans, Switzerland from the 9th to the 15th of June, 2015. The total fee for the course will be 1600chf and will include food, accommodation, six hours a day of painting lessons and panels for you to paint on. For the rest of the materials a list will be made available.
For further information or to book a place, please contact Alan Lawson at [email protected].
The next two workshops will be in the Greater Boston area (specific dog-friendly location still to be decided) from August 28 to the 30th.
These courses are being organized by Leo Mancini Hresko, so please contact him directly for further information or to book a spot: [email protected].
The last few years I was in Florence I taught landscape painting at the Florence Academy of Art. They have recently updated their website to reflect better their professional approach to teaching painting and sculpture.
Their alumni gallery is especially impressive for the sheer number of professional working realist painters and teachers they have produced in their short history, as well as the high quality of the art produced and the great variety of style in the works. ‘Academic’ art is sometimes criticized for producing painters and sculptors whose work all looks the same. Looking through the work displayed on the FAA site, the director Daniel Graves and his faculty have clearly done an excellent job of allowing individualism to flourish, while at the same time giving all their students the proper tools to realize their vision.
The Florence Academy’s drawing, painting and sculpture departments are all excellent and their écorché program (originally set-up by Andy Ameral who currently teaches at the Golden Gate Atelier in the SF Bay Area) is something I regret not having taken advantage of while I still lived in Florence. The FAA is also alone among the schools in Florence in having a number of gallery contacts, so the best students are funneled into the gallery system and avoid the tedious process of getting someone to show their work.
Here are a few photos from my week of teaching plein air landscape painting in the valley around Les Plans in Switzerland. I was working for the Alpine Atelier based in Gryon.
They are very unrepresentative photos as we only had a few hours of sun all week. Most of the time it was low clouds and snow. Nevertheless, the students managed to squeeze out a lot of great work.
It’s often the case that sparse subject matter produces better work while painting en plein air. In my experience, having too many wonderful views to choose from can be more paralyzing to the painter than struggling with difficult or meager subject matter.
Update: Here are a couple more off my phone.
I also shot a video of the 40 minute demo I gave on the first day of the course. You can view it below or on my youtube channel:
I’ve been painting the fleeting light of Southern Croatia for the last couple of weeks and thinking a lot about painting into, and out of, effects.
Landscape paintings usually depict one moment or effect of light. When painting outside, light effects change the whole time the artist is working. Part of the responsibility of the artist is to decide which of the various positions of the sun and shadows will be in the final image. Furthermore, when it’s the painter’s first time somewhere, it can be difficult to visualize perfectly what will happen with the light over the course of a multi-hour plein air painting session.
For the last few years, the light effect that has most interested me is the high sun at midday. My subjects are also often north-facing, and thus back-lit. It’s usually an easy route to take for plein air painting. The number of hues is greatly reduced and the values and shapes become more important. Though it would seem the opposite, I find it easier to get an effect of sunlight or heat, than working with the sun behind me. Most of my favorite historic plein air works are back-lit (it’s hard to think of a good Corot, for example, that isn’t). Also, the light changes very slowly in the midday hours. I’ve worked for up to six hours straight on a midday painting where the shadows and overall effect didn’t change a great deal.
When I first started painting outdoors, however, I really loved the late evening light. Charles Cecil taught me much of what I know about landscape painting, and his own favorite subject is the orange light of the Tuscan evenings, or ‘Golden Hour’. The problem with late light is that the effect lasts only a few minutes. In order to paint a sunset or sunrise painting, you either have to work for only 15 minutes a day, or paint into the effect. Painting into the effect simply means as the afternoon light turns to the golden evening light, the effect will become more and more what you’re after. (Presuming, of course, that the evening light is the desired effect. If the afternoon light is your subject then you’re painting out of the effect).
The trick to painting into an effect is to work on the drawing until the desired effect is present, and then change the colors and shadow shapes at the end. For painting out of the effect the opposite is true. You start with color notes and the shadow shapes, and then polish the drawing as everything changes.
In the sketch of Korcula at sunset above, you can see the blue around the palm tree from when I did all the drawing with the afternoon light. I then changed the whole color scheme when the sun set. I’ll later polish things up in the studio when the paint dries.
Understanding the mechanics of changing light and how to deal with it is an important part of plein air painting.