Part 3- Publisher's Invitational Paintout 2.0, Ampersand Pastelbord

Gabriel's Farm, 6x18 pastel, 2011

Ahhh, the mountains, an example of how they move and dance in the clouds. A nice breeze chased large rain clouds which mostly stayed away from our final location, Gabriel's Farm, only 7 minutes away and our closest paintout location. I had been using pastels for several days and was eager to try a new panoramic museum series panel from Ampersand, called Pastelbord. It is absolutely smooth and flat with a fine texture and can be worked to the edge without  marking. I spoke to Jim Markle about this new board and he liked the superflat surface as well, going off the edge to finish a stroke left no stripe and made us both happy. I think this is perfect for soft pastels, using their grey undercolor was perfect for the day and this composition. Afterwards I brightened the foreground as it was clear and bright overhead, the storm stayed in the distance, alternately covering and revealing the mountains. A field of wild flowers had all of us admiring the beautiful varieties, it seemed to have been planted for color.

Part 2- Publisher's Invitational Paintout 2.0

Continuing the Adirondack adventures.

After painting a few pictures in oil, carrying them fresh and wet into another person's car and looking at the results that evening in a dorm, I realized that pastels would be a good choice in the mountains. The pastels are heavy, but require less space and equipment to carry. It was a good decision as I was caught in the rain and had to work very quickly. My yellow Fantasy Island slicker stayed waterproof, but my plein air umbrella wasn't totally waterproof when it stayed wet. The first painting here is successful because I stopped early and the pastels captured the image I wanted and will allow me to paint it again on canvas without the distraction of details and with the richness of experience. That won't happen soon, it's a possibility for winter, so in the meantime, it is NFS and I like it just as is.

The second was painted from the dock at night, oh! how I love to paint at night, it was quiet and peaceful, and it is always a treat to see later in room light when finished. My hat batteries held up, so I could see my palette box and picture quite well. That evening was like 'yoga painting', peaceful, comfortable, healthy and calm.

Splashing water at St. Regis Falls really is orange, this is a study for another pastel made the same day. I decided to add more of the rocks to my second painting, in the meantime, the light changed and it seems like the amount of water crashing had increased. Three of us were under a pop up tent and had a wonderful time protected from weather. The foreground rock really looks like a seal from my location and a big turtle from the front. It can be seen in old photos and paintings and helps identify the exact location.

Slippery When Wet Flume, 12.5x9.5, pastel, 2011

Night on the Lake, 9.5x12.5, pastel, 2011

St. Regis Falls Splash 9.5x12.5, pastel, 2011

St. Regis Falls Monitor 9.5x12.5, pastel, 2011

Slippery When Wet Flume, 12.5x9.5, pastel, 2011
Night on the Lake, 9.5x12.5, pastel, 2011
St. Regis Falls Splash 9.5x12.5, pastel, 2011
St. Regis Falls Monitor 9.5x12.5, pastel, 2011

Life Changing Adirondack Event?

Painting for a week in the Adirondacks exposed me to a few art concepts.

1) I can climb up or down slippery slopes with an easel, 6' umbrella and wearing a yellow Fantasy Island rain slicker.

2) It's okay to paint in the rain. Not perfect, but okay.

3) I'd rather paint without the rain.

The Publisher's Invitational Paint Out 2.0 in The Adirondacks was a unique professional opportunity to paint alongside over 80 nationally known outdoor artists, to share rocks, experiences and turpentine. There were no lectures, classes or schedules, just a quick breakfast, packed lunches and all day on the road chasing waterfalls, rapids, flumes and mountains with paint and pastel. Sponsored by Plein Air Magazine, this was open to invited artists.

The original Hudson River School of painters packed their supplies and trekked these sights and made a name for themselves capturing 200-300 painted vistas and scenes that you see in museums and books. Now renamed the Adirondack Mountain Painters (founders) our group painted 700-800 scenes in one hectic adventure, carpooling and caravaning, parking alongside creeks and farms to capture new scenes with oils, acrylics, WC, pastel and camera.

Listen to the Loon at VIC, oil on board, 12x18, 2011

High Falls, pastel 15x12.5 2011

Rivershore colors

This Cayuga Island home portrait has been in progress on my easel for nearly 3 months and it is leaving me as a surprise gift to the homeowner. I had promised myself to never do another surprise house painting because there is little opportunity to spend time sketching the building and generating a personal relationship to develop the composition. Cameras flatten images and the eye is more honest. It happens to be cited on the water, surrounded by mature majestic trees so it was easier to select a view.

However, there are many details to any house and I did several 'drive-bys' to take pictures. The neighbors wondered what was going on, the kids playing hockey in the street just stared. It felt like I was lurking and clicked photos from the window of my car since someone always seemed to be home.

I took the first pictures in early Spring when trees were bare; this let me paint the sky, lawn and entire house and place the trees and significant branches. As the foundation plants grew in and trees claimed their shapes the portrait could continue. A fairly large painting, this is a lovely heirloom that commemorates the energy the owners invested in creating a lovely home.

There is always a little feeling of loss when another painting leaves. Now, what's next!!??

Rivershore Colors, 22x28 oil, 2011

Erie Canal Locks in Lockport

Two consecutive weeks were scheduled on the Erie Canal in Lockport, NY with Niagara Frontier Plein Air Painters this month. We listened across the canal as children on field trips screeched and exclaimed waiting for their tour boat rides and the cruise narrator repeated his prepared speech about the history of the Erie canal, the height of the locks in Lockport and the upcoming 'widest working bridge' as well as train whistles and passersby. This was followed by the natural quiet of a park and the regular opening and closing of huge lock gates to change the water level.

Huddled under my giant paint umbrella, straddling a picnic bench, I relished each moment as I painted. The network of paths and bridges and stairs engineered under the level of the city of Lockport was fascinating. Both paintings are from the same location, the park across from Market Street, but painted one week apart.

Waiting for Tour at Noon, 8x10 oil 2011

Opening the Lock. 16x20, oil 2011

Delaware Park Rose Garden

Slipping off to Buffalo to paint the beautiful Delaware Park Rose Garden doesn't bring the Albright Knox Art Gallery to mind. All of the other painters-there were about 8-headed for the beautiful colonnade, surrounded by steps, columns, roses and trees. I had spent a full year painting only roses, so I was up to this challenge and liked the idea of varicolored bushes, clusters, longstems and bunch roses.

As I perused this lovely location, the sight of the Albright's E. B. Green 1905 building peeking over the end of the gardens grabbed me. I turned my easel around and accepted the challenge. Having painted on the grounds and having a profound respect for the institution, I did appreciate this distance view.

However, I ended my visit with about 50 new rose photographs, with all the varieties and colors one could imagine.

Look What's Growing in the Rose Garden, 11x14 oil on masonite 12x18

Photo; in progress plein air painting

Margaret Louise Park, Amherst, NY

My second visit to this jewel of a park was a perfect Spring day. We had been through a spell of cold and rain which caused a few paint-outs to be washed out.

The painters kept murmuring 'what a lovely day' as we drank in sunshine, listened to geese clattering over territory and birds celebrated their varied chirps.

Painting on a masonite panel reminded me how important the surface is to a composition. My oils slide like butter on warm toast but dry more slowly so each brushstroke must be carefully placed to avoid muddy effects. In this case, the tannin in the water created deep dark browns, but the sky and scattered clouds reflected themselves in all the light areas.

If this is the best plein air I create this year, I will still be happy. It is named for the turtles basking on the log in the water to the left of the tree trunk.

4 More Turtles, oil 16x20 2011

Olmsted Parks paintings.

It's unusual for me to paint from a photograph, but I was indoors, painting an Olmsted Park. I used a dull photo and my memory to capture the day I was there early last Fall. This Spring I spent a day with representatives of Olmsted Parks of Buffalo, painting at the 'Plantasia' event on the Hamburg fairgrounds.

The varied Olmsted designed parks in Buffalo include several traffic circles in the system, including at McKinley, Kleinhans, and Richmond as well as South and Delaware Parks. I donated this painting to their fundraising and by a roundabout way it remains much loved in

the office of Otis Glover, Director of Communication and Outreach at Parkside offices, 84 Parkside Avenue Buffalo

Olmsted at Delaware Park, 9x12, oil 2011

collection of Buffalo Park System

Chasing the sun from the shadows

My previous post showed a finished painting drying in the sun. Actually, painting on a canvas that has sunshine on it creates a very strange painting when brought indoors, sometimes it is positively garish and other times it is incredibly dark. It took me 3 ruined paintings to learn to ALWAYS have my canvas and my palette in shade. Therefore I bring a 60" artist umbrella to our paintouts as well as choose locations with abundant shade trees or overhangs. Standing in sun for hours, sunblock or not isn't a healthy practice either.

It helps to have a good sense of direction or a compass when plein air painting. In this case, I put a straight edge on the ground at the edge of the shadow and watched to see the sun move over the marker-it only takes 2-3 minutes to plot a good spot.

photos by Bobbie Peters

Working Weekend!

I managed to paint and visit Long Island & NYC over a recent long weekend. I painted one early morning and one afternoon on different days at Cold Spring Harbor Laboratories and Education Center where Bobbie works, probably the prettiest site for a lab and a career. This is the view near the top of the hill and close to her office doorstep. The paintings show adjoining areas of the village of Cold Spring Harbor, across the bay; both were painted in glorious sunshine but the harbor photos were taken when scattered clouds changed my view and I took a break.

The painting below, on the easel, is set to dry in the sun as I relished the view and waited for a ride home, I have it home now having gingerly carried the still wet painting in my JetBlue carryon. The Library painting stayed at the lab in her office, I painted until 5 minutes before leaving for the train and it was entirely too fragile to move.

I plopped the wet picture on the shaded ground and took a snapshot to test the light. It needed more light for true colors so I moved the picture to shoot it again. Dead camera battery. I have no painting, nor do I have an accurate photo of it, but I did have the opportunity to spend hours with this view, the changing colors and shadows of morning, the moored boats changing direction with the breeze, pansies and flowering trees and a nearby fountain attracting a variety of birds.

Can you believe my sister works in this spectacular place? And she has the painting? I expect a comment as to how this photo of the painting compares to the real thing!


Photo Cold Spring Harbor

Cold Spring Harbor Library, oil 14x11 2011

Photo of easel, 'Mapping My Genome at CSHL, oil 11x14 2011

A Stir in the Mist

A Stir in the Mist has been out for a few months now, it is the wonderful hard cover cookbook published by the Niagara Falls Boys & Girls Club. I am proud to be a part of such an ambitious project, the committee was aware of every facet of cooking, writing and printing this lovely book.

My painting, 'Masterviews' was selected for the sidebar of the menu pages, and it was purchased by Diane Cimino at the cookbook kickoff last November. In the cookbook it is printed in blue as a screen. A few minutes later, I had another customer wanting the same painting for an out of town gift-for a former Niagara Falls resident. It is entirely unusual for me to paint a copy of my works, and the original was purposely softer in contrast to allow cookbook comments printed over the mist. I told the Koester family that their 'copy' would not be the same, it would have different color and less mist. Also different in balance of the composition, I am surprised how close the two paintings are. It will be a lovely addition to its new home in Missouri.

Click on A Stir in the Mist to see the book and turn the pages. I also drew the illustrations of food and provided Niagara Falls paintings for the divider pages.

Masterviews, 24 x 8, oil 2010

Masterviews Too, 24 x 8, oil 2011

Giant Croton captures me

Spring comes first at the Botanical Gardens, the cactus start to swell and palms put out huge new branches, ferns thicken and unfurl from their centers. Intrigued by the changing leaf colors as winter wanes, I found a crowd of colorful Croton plants and moved them around a little to isolate this one.

There was a lot more color after studying the plant, and this painting took longer than I expected. 'Some green, a couple of orange, a bit of yellow, leaves aren't that hard.' Or so I thought. The light on each waxy leaf created new hues and shades, the shadow of one leaf onto another created more.

I was positioned in a narrow aisle and the best moment of the day was a toddler who considered pebbles on the raised beds delicious. His stroller brought them right to his reach; he waited until Mom admired the Venus Fly Traps and grabbed a handful. We warned her, but he was determined to have his souvenir. Apparently he had been practicing this grab for a while, not a healthy place to eat, and he probably went home with a bit of extra weight.

Greenhouse Croton, 12.5 x 16.5 pastel 2011

Begonia in bloom

Thursdays at The Botanical Gardens continue to attract me....and my pastel boxes. As the winter flower shows were removed, and few Amaryllis remained, the begonia room's incredibly diverse leaf shapes and soon-to-be exploding flower buds were attractive, but not as interesting to me as the fish. I spent a day sketching the huge koi as they lazed in the waterfall's ripples, but soon realized that they were not going to stay still. As soon as I chose a fish, he hid. Frustration! I went home with many drawn pages of incomplete koi in my sketchbook, all in conte crayon.

The following week I went back to the begonias and found this brilliant orange bud bursting open, surrounded by vari-colored leaves draping themselves like servants to the royal bloom.

My drive to and from the gardens includes the Skyway. It's my favorite road here, with views of downtown Buffalo, huge ships below, the lake and Canada, leading into active and abandoned grain elevators, ice fishermen, Tifft Preserve, marinas and finally South Park.

I don't actually look at the street when I drive, I can see over the guardrails and I swivel like a bobblehead to look out in every direction. Here are two videos I found of my drive-with too much road, not enough lake.

Eastbound, with music

Westbound in the sunshine

Long Leaf Begonia, pastel 9.5x12.5 2011

Amaryllis

The botanical garden's recent Amaryllis show was a riot of color, strap leaves & thick tall stems topped by gaudy trumpets marching along the greenhouse paths.

This beauty was buried with sprays of tiny orchids at the entrance to the ivy house. I was attracted to the red, green & white colors as well as the way it reached into the path.

Untitled, pastel, 9.5x12.5 2011

Cattleya Orchid

Last weekend's Botanical Garden's event featured the glorious blooming orchid room and the Orchid Society Show.

Leading up to this event, the orchids have been casually unfolding from balls and ovals and even zigzag bundles from their host of strap leaves and air roots. Otherwise unremarkable plants have become riots of color, and each week we painters spent time checking out the buds and new colors.

I had worked at a popular florist when all women wore gaudy corsages for Easter so it was the biggest work weekend with hours right through the night. Everyone's Mom & Grandma needed to have a color coordinated flower and bow on their Easter finery.

This cattleya puts the smaller cymbidiums and phalaenopsis to shame by its sheer size, as a corsage it was a favorite but I never understood why the big flopping petals that reached halfway across any women's outfit was so popular, in those days the color to wear was purple.

For me, sitting in the orchid room with these screaming yellow flowers for a morning of mark making was wonderful!

Not My Corsage, pastel 9.5x12.5 2011

Springing into Spring?

Two days of sunshine & warm wind obliterated January's snow into puddles. I was ready to pack my paints & declare an early Spring. Wrong. Winter is back, but we are in the midst of art show season, so I am looking forward to art openings & sharing winter art stories & accomplishments with artist friends.

Last week, the 'Traditional' part of Art Dialogue Gallery's Western NY Artist Group juried membership show opened. My juicy tomatoes are hanging near the window-it seems my extra bright colors always have a hard time being placed in art shows, they are front & center, or on a single wall, or at the beginning or end. Sounds like I covered all the bases, but my paintings are rarely hung within the line of artworks on average gallery walls. I kind of like it that way! It will be up until mid-March when the 'Contemporary' part opens.

'On the Waterfront' at Artsphere Studio & Gallery, Amherst Street in Buffalo, opening reception is next Friday, February 25, 6:30-9 pm and will remain up until March 25. I had a hard time choosing only 2 paintings for this show, of all the tugs & grain elevators, downtown skylines and ships that I have painted in the last few years I could have had my own show altogether.

The two landscape paintings are plein air.

Karpeles Tomatoes, 11x14 oil 2009

Tug in a Cool Dock, framed to 19x21, pastel 2008

Lights under Michigan Street Bridge, oil 14x11 2009

Art is back in season

Finally, indoor plein air season! I have been going to the Buffalo & Erie County Botanical Gardens in the winter to paint over the past five years.

Everything changes quickly there, and seasonal displays of flowers add to the riot of color on the permanent plants. Amaryllis will be lining the walks soon.

Choosing to sit with my canvas on the same bench weekly would still result in very different paintings every time. This lemon tree has been my subject at least four other times, deep green fruit hides under big leathery leaves and tangled branches until subtle color changes to lighter green. The little white flower buds have a wonderful sweet scent.

Lemon Hide, pastel 12.5x9.5 2011

A Winter jewel

No. I have not been painting outdoors. This bit of winter is from last year, a sunny day with a lot of snow, enough to sink in it down to my knees in snow-I almost had to paint UP to my easel because it was braced on a fence. Getting chills just by remembering. Looking forward to painting some more purple shadows on the snow, which means we need to lose the clouds soon.

It was painted at the old canoe launch in Buckhorn State Park where I often paint in Fall, when leaves and shrubs hide the trees in the distance.

Creek Shadows, oil 8x10 2010

Open Studio 2010

My annual Open Studio event has evolved over the years and I look forward to seeing friends, sharing stories of my paintings and eating holiday cookies. Claudia Capolupo joined me for the day on Friday, its always a treat to have time with a good friend, wine & conversation.

Rearranging the studio for visitors involves framing new work, varnishing paintings from spring & summer and deciding which artworks are unfinished or need to be overpainted [not everything is a keeper!].

2010 was a Friday/Saturday event & the weather was warm and sunny, so there were many people out and the light streaming in the windows brightened the darkest corners. I'm pleased to show these photos of 'Holes in the Walls' studio at its best. Since that weekend is followed by so many holidays & preparation for them, visiting & parties, the studio stays clean & neat. I don't usually start any major works now but I am looking forward to some big projects for the new year. My 'need to paint' is satisfied by painting a few small works and drawing plans for upcoming projects.

Find peace & joy in whatever you do.

Letchworth State Park Weekend

After a minor whine/ rant last post, I have to admit to a two night get-away camp adventure in Letchworth State Park with Sherrill Primo, Joan L. Shaw and other NFPAP painters in October. Yes, I got cold 'camping' with a cottage, and it also rained. No matter, it was wonderful. I've returned to this Letchworth site & now have three pictures, one an older photo of my kids & Carl in front of this train trestle, another a little painting of the same scene with watercolors from a paint trip with Sherrill 2 years ago. This time, I was ready and the train trestle was finished-when the incredibly long train motored by, slow enough to capture the light glinting on the roof and slow enough for me to paint it from life! Actually, I can paint VERY fast.

The photo of me was taken by a tourist to the park, who happens to be from Buffalo, watched me paint for a while, took my photo & my card & sent the photo to me. Thank you John Gross! I'm wearing all the clothes I brought, I think there were seven layers, two pairs each of gloves & socks, but my smile is genuine. We went to paint the majestic Glen Iris Inn, but I happened to turn around & liked the shadows & light at edge of the meadow near the gorge. I stood under a tree that partially protected me from the constant mist and wind that started to get quite ferocious by the end of our adventure.

Are You Allowed Up There?, 24x12 oil 2010

By Glen Iris Inn, 8x10 oil 2010

TIfft Nature Center & Sanity

Those of you who know me understand the turmoil around me over the past few months. I have maintained my sanity by grabbing all rare occasions to paint, certainly not as often as I would like, & I haven't posted many new works that I have completed. My 'business of art' is set aside for now, but the studio is clean and serves as a sanctuary for music, sketching and thought.

Well, our first snow arrived & I finally spent the morning converting images for publication & hope to post several times in the coming weeks. Enjoy!

These two were painted at Tifft Nature Preserve in South Buffalo which is an idyllic park run by the Buffalo Museum of Science. It was reclaimed from abandoned railroad yards and factory dumps in the early years, when Buffalo was a huge port and transportation center.

Each year that I paint there I see nature overcoming the spoils of industry. As I painted the creek, a pair of deer frolicked in the distance, giant water birds came & went and the painting earned its title.

The little marshland portrait has a huge set of grain elevators in the distance; abandoned, trees and grasses have sprouted on the paths and fields, the buildings appear to recede as the trees gain height.

4 Turtles on a Log, oil 11x14 2010

Reclaimation, 5x7 oil 2010

Art to Print?

I received an email this week because a Google searcher found me and my cloud paintings when looking for posters. I was impressed because I had only published two of the 40 paintings from my year of preparing for 'Skies over Buffalo, Wait a Minute'. It slowed down my posting this year as it kept me busy doing my favorite sport-painting! Actually I purposely held back those images just for a show.

Anyway, it made me realize that they would make super posters.....thinking......

Don't Bring Me Rain, oil 10x20 2010

Off the Lake, oil 12x16 2010

Open Art Studio Show is Over for 2010

At the top of the staircase I placed this large oil painting, painted from a beautiful bouquet, my birthday gift. It was an introduction to the upstairs gallery and a complete change from the water, rocks and skies of downstairs Falls painting exhibit. I think the transition was effective. Guests stopped on the top step to look at it, then walked the hall left and right to look at other paintings.

Next year, I will create a display of the flowers downstairs, as I only used a few of them anywhere this year. There were many Fall landscapes en plein air in the studio and I was pleased to see them all together. I'll probably emphasize bridges somewhere too. I surprised myself at how many different bridge paintings are here.

After I picked up the cookies and paperwork from the open art studio event, I went out for a quick errand. Returning, the ceiling spotlight still shone on this painting, giving it an eerie glow it deserves, I could see it from the road.

There is a difference in the right and left sides that is only evident with a careful introspective observation, it is bright and optimistic on the right, fading on the left.

Perhaps I will put it in the living room near the window. I always felt it belonged over a breakfront or a server, to appear as a bouquet placed on that piece of furniture.

If you missed this sunny and busy show weekend, I'll be back next year, or call for an appointment anytime.

It's a Lot Like Life, oil 28x22 2010

2010 Open Art Studio

Next week will be my 3rd annual open art studio, Friday & Saturday 11-5. Saw a friend who purchased my Great Lakes gardens picture (September 2010 calendar image) last year at the open house & told him about next week. I thought his head would fly off when he whipped it around to say-'What! That was a year ago?'

Time flies when we are having fun.

This oil painting has been on and off my easel all year. I started it because of an earlier pink flower painted in pastel from a similar view-the back. It was called 'Looking Back on a Decade' because the painting coincided with one of those landmark birthdays.

What! That was TEN years ago!!

Just another Decade, oil 20x16 2010

Tuscarora State Park

Every paint-out is a mini vacation. A few weeks ago my mini vacation was in Northern Niagara County outside Wilson, NY, so I was home by 4pm.

The Tuscarora State Park on Lake Ontario has a lovely beach area on the west side bordered by a small outlet. Standing in sand, protected in the shade of a massive cottonwood, I could see across the tiny bay to thirsty trees reaching down to the water.

The shallow water here can float small sailboats and inboards, but there were none at this plein air paintout-just Canada Geese families.

Tuscarora Caribe 9x12 oil 2010

THE ELECTRIC TOWER paint out

This summer I had the opportunity to ascend 'The Electric Tower' to paint, it's the dramatic building where the outdoor New Year's Eve party & fireworks is centered in Buffalo. Built as the terminus for long distance electricity from Niagara Falls for the 1904 Pan Am Exposition, most of it has served as offices, the first two floors used to be an elegant store for electric household tools-vacuums! Waffle irons! Electric lamps!

The current owners (ISKALO) have been restoring the dignity of this round building and converting it to offices & condos. We were invited to paint on the 15th floor & quite a few Niagara Frontier Plein Air Painters took this opportunity to 'see the sights' 2/3 of the way up the building where the white section starts. This level was due to be renovated, so we were able to explore original boardrooms totally carved and decorated with dark wood, built in furniture and secret doors in the panels. Each painter selected a different window, our floor was small enough with all the walls and dividers removed that we could talk to each other about whether it was really plein air painting or not! The windows were huge, but we were protected from the wind and sounds of the city.

In addition, few of us had ever painted anything by looking down for the whole painting. This created perspective & compositional challenges; most buildings were much lower than us, roofs full of electrical systems, the lake and Canada in the distance, hockey & baseball stadiums within a few blocks.

I selected to paint a long view-the old first ward and grain mills with windmills & Lake Erie in the distance. As an outdoor painter I have discovered so many new streets & hidden treasures in downtown Buffalo, side roads off Ohio Street take me to 'Elevator Alley' a majestic remnant of 19th century glory when Buffalo was one of the largest cities in North America and the gateway to the west. Now these river alleys are quiet with age and home to geese, boaters and tugboats instead of crowded with great lakes ships.

Where I Like to Paint, oil 15x30 2010

The Electric Tower photo from website http://www.electrictower.com

Is this an old church in Canada?

A summer weekend at Artpark with the Niagara Frontier Plein Air Painters during the wine trail tour was a perfect place to paint. Surrounded by artists and wine, lots of people who were all in a great mood and not in a hurry--who could ask for more?

This is a Canadian building, perhaps a church, across the Niagara River in Ontario. I am not familiar with it by driving along the Niagara Parkway so it must be nestled in Queenston, behind those lovely historic homes and businesses. The river had a Caribbean color to it that day, reminding me of Cancun.

Canada from Artpark, 20x16 oil 2010

Phyllis Stigliano Gallery

A Jetblue airfare sale and a quick painting trip to NYC enabled this plein air of a lovely Brooklyn brownstone in the historic district of Park Slope.

The image will be used by Phyllis Stigliano for cards at her art gallery on the first floor. The title was inspired by the large number of serendipitous events that brought Phyllis, Charles & I together, as well as the ambiance of the afternoon that I painted. The sun shone and neighbors gathered as I was challenged to capture decorative details, fleeting light and the elegant mood of this grand old building with a quick brush.

Accustomed to wide open spaces and infinite vantage points when I work en plein air, this was painted from across the street by perching on a neighbor's wall, the only spot that afforded a view between towering trees. It might have been more difficult if the recent tornado that blasted this area had not torn down small branches and many leaves to give me a better view.

This is my second longest (time) on site painting; learning the scale and proportion of protruding windows, multiple columns and solving perspective from close range was a genuine challenge that I enjoyed all day. Now that I have challenged and conquered brownstone style architecture I'll find additional opportunities to paint in the city.

8th Avenue Serendipity, 14x11 oil 2010

Escarpment Drive Painting

Answer: Exactly one month, plus about 20 years of practice.

Question: How long did it take to do that painting?

I put brush to a gessoed canvas on September 5th, after several visits to take pictures, choose lighting & a bunch of drawings to choose composition & resolve scale for this commission. Although I plan to add a signature & a few dots & dashes for depth, it is a finished painting on October 5.

So, all things considered, including prep and framing, the real Answer: 2 months, + drying time to be varnished [3-6 more months].

Escarpment View, oil 12x24 2010

That's really a LOT OF WATER!

A plein air paintout on a late September morning resulted in a successful capture of one small piece of the American Falls. The photo was taken early, the water turned greener as the light changed. I placed it here to share my awe of the tremendous power at Niagara Falls. This was a joint paint out with Naiagara Frontier Plein Air Painters and Genesee Valley Plein Air Painters, so we all had an especially lively lunch discussing techniques and turpentine.

I toyed with the idea of including some tourists----it would emphasize the scale of the cataracts, but have instead decided to title it with a tremendous fact.

8,000 Cubic Feet Per Second, oil 16x20, 2010