Learning and Adapting During a Pandemic, Some Good Always Comes from the Bad, Including the First Ever Watercolor Live!

During this time of COVID-19, as an artist, many things have stayed the same during this time in my daily, monthly and yearly routine. However, there have been many changes too.  Early spring when many of my in person workshops and painting exhibitions were cancelled, I changed direction and some of my studio activities shifted online really fast.  I have taught more workshops online this year than I ever would have in person.  I’ve entered and been a part of many more exhibitions due to them being featured online with galleries and various art organizations.  Plus, I never would have guessed, I would be creating and editing my own video content as much as I have this year.  The pandemic has given me a little kick in pants to get up to speed on that.  

A Solitary Shadow, watercolor, 20” x 20”

Due to not traveling, I have produced more work in the studio the last few months focusing on a water lily series of paintings.  Initially, that is all that I wanted to paint.  I found peace and comfort focusing on this beautiful subject matter.  Painting became a moving meditation.  I also recently completed the third painting in my Japanese Samurai series.  

Emerging Dragon, watercolor, 32” x 24”

Another thing I never would have done pre-pandemic is participate in three online art conferences.  Over the summer, I watched four days of incredible presentations given by some of the best plein air painters in the country,  and from around the world, with Plein Air Live.  I was a demonstration artist, and workshop instructor, in the first ever Florida Watercolor Society Virtual Convention.  This past October, Realism Live captivated me for four days, another global art conference focusing on realism and figurative work.  Plein Air Live and Realism Live, produced by Streamline Publishing, publishers of Plein Air and Fine Art Connoisseur Magazines, virtually took the place of the Plein Air Convention (PACE) and The Figurative Art Convention and Expo, (FACE), two in person conventions that occur in various locations in the United States each year. Due to previous travel commitments I hadn’t planned on attending either one in person.  And was thrilled to participate in the online events.

In January,  the folks at Streamline Publishing are dipping their toes in the watercolor world and are producing Watercolor Live, a global watercolor conference.  I’m extremely honored to have been invited to be on the faculty of this first  ever event of it’s kind.  The line up of artist faculty is amazing, I’m in the company of; Linda Baker, Matthew Bird, Andy Evansen, Michael Holter, Shuang Li, Daniel Marshall, Laurin McCracken, Angus McEwan, Larry Moore, Birgit O’Connor, Jean Pederson, Mario Robinson, Pablo Ruben, John Salminen, Thomas Schaller, Iain Stewart, Brenda Swenson, Keiko Tanabe, Soon Warren, Joseph Zbukvic and Stephen Zhang.  A big thank you to Eric Rhoads (and his team), the publisher of the magazines mentioned above and the producer of these amazing conferences.  Not only are they great learning experiences, I have made life long friends attending them.  

Watercolor Live is January 27 - January 30. I will be doing a presentation for Beginner’s Day January 27, focusing on color theory and using a limited palette.  I will simplify concepts of using color temperature in your work, knowing which primary colors to use to get the effects you want, and how to neutralize color and mix grays and darks.  I will also discuss the ever important concept of pigment to water ratio in the puddles mixed to paint. 

Please consider joining me and this line up of amazing watercolor talent from around the world.  Below you will find the link to register and learn more about this incredible event.  There is a little over one week as I publish this to take advantage of the early bird price.  As of December 6, the prices will go up.  Don’t hesitate, you won’t regret it! 

Creatively yours & have a wonderful Thanksgiving,

Kim

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Memory Lane & Fabriano Soft Press Paper

Pick Me, watercolor, 8” x 8,” on Fabriano 140 lb soft press paper

Working on this painting was a walk down memory lane.  When I was a kid we had a huge vegetable garden in our back yard.  We planted it mostly by seed every year on Memorial Day weekend listening to the Indianapolis 500 on a transistor radio.  Living in Indiana, the race was blocked out on television.  If you didn’t go in person, radio was your only option.  We always planted 2 or 3 rows of green beans, the bush variety.  I enjoyed planting the garden, but my least favorite tasks were weeding and picking the green beans. They were hard to find camouflaged amongst the leaves.  Hunched over rifling through rows of beans for an hour in the blazing sun, I couldn’t wait for it be over.  Then, of course, I had to clean the things to be ready for dinner! Ironically, as much as hated doing these chores, they are still one of my favorite vegetables.

Maine Yellows, watercolor, 6” x 6,” on Fabriano soft press paper

Though, my childhood summers weren’t just spent working of course, they also mostly consisted of exploring outside, going on endless bike rides, and reading.  With all the fun I had, of course I dreaded the inventible orders from my mom to do those gardening chores.  However, now I’m grateful for the experience and love doing them now.  My mom instilled a love of plants and gardening in me at an early age, something I treasure to this day.   Working on this painting flooded me with memories, and time spent with my mom in and out of the garden. 

Foraging Day, watercolor, 6” x 6,” on Fabriano soft press paper

I experimented again with another Fabriano paper, 140 lb soft press.  I had previously completed three paintings from my mushroom series on this paper and really liked the results. (Foraging for mushrooms was also a part of my childhood.)  If I were to describe this paper, I feel it is a cross between hot press and cold press paper, which is why I felt it would be good for my smaller works with a lot of details. This painting is 8” x 8” and my mushroom series are all 6” x 6.”  The advantage of if it being like hot press paper is that it is smoother and it seems easier to draw and paint details. However the paint still soaks into the paper, not sitting on top like it would on a hot pressed surface.  Thus, it behaves  more like a cold press paper, which I prefer.  Watercolors are vibrant when dry, and they were easy to mix on the paper, I was getting nice results in wet into wet areas.  The paper has great lifting capabilities and edges were easy to soften with a synthetic brush. Staining colors do not lift out as easy as non staining colors.  Because I used  yellow in my mix of greens for the green beans, lifting out highlights in those areas was a bit more difficult because the yellow I use is a staining color.  

Red Jewel, watercolor, 6” x 6,” on Fabriano soft press paper

This is not a paper to use, if you are used to scrubbing out passages or softening areas with a scrubber brush.  I did try that in an area and the fibers lifted up pretty easily.  It will not take much abuse in that respect.  I did not try masking tape on this paper but I did use a little bit of masking fluid and didn’t have any fibers lift off the paper when removing the masking.  After having used this paper on a few paintings. I am definitely adding this paper to my repertoire and would like to try the 300 lb soft press for larger works.  That will be an experiment down the road. 

Visit my You Tube Channel to see a time lapse video of this complete painting.

This painting was done as part of the Florida Watercolor Society’s “Creative Confinement Challenge.”  Open to all of the nine hundred or so members, the submission fees will go toward The Healing Arts Award in the 2020 Annual Exhibition.  Every year the Florida Watercolor Society donates a painting to a health or medical facility in the area where that year’s president resides.  The president chooses which facility they would like to donate the painting to and invites a representative from there to choose the painting from the Annual Exhibition.  I love this program.  I feel art promotes healing whether you are creating it or looking at it. 

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Change is Good: Arches vs. Fabriano Paper

A Calming Influence, 24” x 19,” Watercolor on Fabriano 300 lb. Cold Press

It has been a while since I have written an article on my blog!  Who knew how much the world would change between then and now, and I feel there are more changes to come.  My hope is that the world will be a kinder and more peaceful place.   While I do not like the circumstances and the hardships that many are facing in this wild time, I do believe that sometimes there are good things that come from the bad, and I try to remind myself this to be more at peace.  I’m trying to take more time to do things I enjoy, gardening, cooking, and enjoying nature. This time I’ve had at home during the COVID-19 quarantine  has made me reflect how I may go forward in the future, and I am more grateful for each day I am alive and well.

In My Solitude, 20” x 20,” Watercolor on Arches 300 lb. Cold Press

One positive change is having so much dedicated time in the studio!  I have been wanting to do a water lily series on a larger scale. Previously I have only painted them 12” x 12.”   I felt it would be the perfect subject matter to paint during this quarantine time. I find them to be a calming influence. I finally started on them and I am currently working on the fourth in the series.   I have at least five planned. Their titles reflect how I have been feeling during the lock down and how I felt painting them. 

A Moment of Pause, 22” x 12,” Watercolor on Arches 300 lb. Cold Press

As I mentioned before, painting this subject matter larger is a change.   I spend a  lot of time designing each of my paintings, and love doing it. I make a lot of changes from my original photo references, mixing more than one photo together for the right composition. I  re-work the positions of elements within the photo. I add elements that are needed for the composition, even if they didn’t exist in real life. I also change colors from my photo references, and recently I have enjoyed designing and incorporating borders as part of my body of work.

For this series, I ventured out into new paper territory.  Most of my work is on Arches or Twin Rocker paper. ( Never heard of Twinrocker?  You can read it about it here on a previous post. ) The first two in the series were painted on Arches 300 lb. cold press.  On the third painting I decided to try Fabriano 300 lb. cold press.

Nocturne, 12” x 12,” Watercolor Mounted on Cradled Archival Board and Sealed

When you have a lot of time invested in designing and drawing it can be a  risk to try something out of the norm.  But if we don’t, how will we learn and grow?  I bit the bullet and committed to completing the painting on the Fabriano paper.  With my particular painting style it took me a while to get used to it until I realized what I normally do had to be done somewhat differently.  As I got into the rhythm of it, I really enjoyed it.  It was like going on a little vacation, which is as good as it’s going to get right now! 

Interlude, 12” x 12,” Watercolor Mounted on Archival Cradled Board and Sealed

What was different, you might ask?  First the paper is softer,  you can tell just by how it feels.  I was worried if I had to scrub out an area or lift, would it mutilate the paper too much, but I didn’t find it to be an issue.  All paper companies have their “secret sauce” for sizing their paper. For example, some use animal byproducts in their sizing, I do know that Fabriano does not.  That is why Arches can sometimes have that wet dog smell.  (No, Arches does not use dog in their sizing, but I think there might be something from an animal in there.)   I feel Fabriano might have less sizing then Arches.  It could have been the weather that day, but I did feel washes tend to dry a bit quicker.  However, working wet into wet, it was fine. Everything stayed wet long enough for me to get done what I needed to in a wash.  I also use masking tape to mask areas I want to preserve the white of the paper and paint later. I was concerned with a softer paper the top surface of the paper would lift off with the tape, but it didn’t, and masking fluid came right off too. 

Trio, 12” x 12,” Watercolor Mounted on Cradled Archival Board and Sealed

I also felt the color seemed to be more vivid on the Fabriano paper.  The paper could be whiter or the sizing may have an effect on the appearance of the paint on top.  Another factor could be how much paint soaks into the paper versus sitting on top of it.  Whatever it is, I like the results. However, one thing that did take some getting used to was if I  painted over an area twice after the first wash had dried, the paint underneath seemed to lift easier than on Arches.  It took a natural hair brush and a light touch for the first wash not to mix with the second.  That was probably my biggest work around for the way I paint. 

If I were to say anything negative about Fabriano vs. Arches, it would be that their water mark goes all they way across the top of the short side of the paper.  That doesn’t bother some people but if I were to do a painting on a full sheet you would see it as part of my painting.  I’m not so keen on that. One work around is to use the opposite side.  However, there is a different texture on each side of the paper.  If you liked the texture on the water marked side and you wanted to do a painting on a full sheet, you are stuck with it.  Arches’ watermark is more subtle.  It is small and in a corner. 

Meditation II, 12” x 12,” Watercolor Mounted on Archival Cradled Board and Sealed

Overall, I felt like the change was good! Would I use Fabriano again?  Absolutely!  Would I stop using Arches, not necessarily.  I tend to use the paper I need for what I want to achieve in the painting because they all behave differently, just like our dear children or pets.  That is why I also use Twinrocker paper and occasionally, when I have the opportunity, I buy other brands I would like to try too.  I have tried some that will never make it into my repertoire, and like Fabriano some brands will have a place in my studio and potentially be used en plein air paintings as well!  

Don’t be afraid of change.  We certainly can’t have that attitude in this unprecedented time in human history.  Take a risk, what are you going to do different today?  Feel free to leave a comment.  If you subscribe to my blog and are getting this via email, click on it to go to my web site and leave your comment there.  :-)

Wishing you continued safety and good health!

Kim

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My Special Visitor

If you follow me on Social Media, Instagram and Facebook, then you may know about my new friend Red.  However, you don’t know another wild part of the story, more on that at the end.  A week before last as I was heading out to my back porch to have my morning tea, a squirrel was going nuts on the roof of my pool screen barking at something on the gutter.  At first glance I thought it was a hawk, but on closer inspection I detected it was a rather larger pigeon or dove.  It seemed really odd to me because we don’t have this variety flying wild in my area.  

There was something about it, that captivated me right away.  I have heard stories of those that believe if a loved one has passed they often can show up or their sprit can show up for you in animal form.  Being a descendant of Native American culture, I am aware of the belief that people have spirit animals.  Those that seem to show up for you often.  For me they are birds in some form or dragon flies.  This spring  I had a family of hawks raising their young in my back yard.  With dragon flies, I am always saving them or they fly around me constantly and sometimes land on me.  

When I saw the pigeon based on it’s coloring I immediately thought of my mom, who passed away not quite 2 years now.  It did not seem afraid of me whatsoever or fly away.  I though it might be hungry so I grabbed a handful of bird seed which I happened to have on hand from my bird feeder and scattered it on the ground.  It immediately flew down and started eating and didn’t seem bothered by me at all so I sat with it while it ate.  I could see it cocking it’s head at the water sound from the pool.  I opened the screen door and it helped itself to a refreshing drink from the pool, hopped around on my deck and then went back out to eat.  

I noticed it had a yellow tag on one leg and I was able to copy all the numbers and letters on the tag.  I came in and Googled, “pigeon with a yellow tag on it’s leg” which led me to the site for the American Racing Pigeon Union.  My friend turned out to be a homing pigeon that races.  Who knew?  I located the club it belongs to from a series of letters on the band, and called the secretary of the club who lives about 25 miles north of me.  

He proceeded to tell me that there was a 100 mile race east of Jacksonville Florida, the weekend before he showed up on Tuesday and his guess was he must have followed the Orlando birds and then got too tired to fly home.  He was able to locate who owned the bird by the numbers on the band and I got his phone number.  He also advised it’s not a matter of the owner just coming to pick up the bird as they will just fly away if you try to capture them.  My best bet was to enclose it my pool screen area, or capture it put it in a box.  What?! 

Red Meet Tiki, Tiki Meet Red

At that point I thought to myself, I will call the owner and see what he wants me to do.  I found out the the bird was a male, and that he was exhausted and most likely dehydrated from the race and didn’t have the energy to make it home.  He told me to keep feeding it as much as he wanted to eat and give it a bowl of water.  He would eventually decide when he was ready and hopefully fly home.  

It spent the whole week with me,  I took hundreds of pictures of it, (you know I will paint him eventually). It stayed in the same general area around the back of my house near my pool pump, it would fly up and roost in the gutter at night.  Whenever I went to check on it it would fly over to greet me and I made sure it had food and water at all times.  Some days later in the week it would disappear for a few hours but would always be back in the evening.  A couple times he took off and I thought he was heading for home only to show up again.  I was texting the owner and decided I would wait until I didn’t see him for 24 hours before I would alert him again that I thought he was heading home.  

On the Sunday after the Tuesday when he first showed up, he ate out of my hand that morning. Then later in the afternoon he disappeared again for a few hours.  My husband and I were going to dinner that evening so I checked around 5:30pm before we left.  He wasn’t there.  We no sooner got in the car and I got a text from his owner with his picture saying he had made it the 26 miles home!  He had a mini vacation at my house and then must have decided he wanted to continue his racing career and headend home. 

All puffed up and ready to go!

So now comes the wild part of the story. I did some research on the spiritual significance of the pigeon and or dove.  They have been used as symbols for centuries and represent love, family and home. As they always know their way back home, they were used to carry messages especially during war time to communicate messages secretly. Pigeons also represent sacrifice and if one is born under the the pigeon totem they are very devoted to their goals and to their loved ones and they will go to extremes to make sure loved ones are taken care of and goals are fulfilled.  The pigeon is also a totem for motherhood. It can also symbolize a prophecy of good things to come.  If a pigeon or dove flies into your life you may be asked to go within and release any emotional disharmony from the past or present. They can also help rid us of trauma stored within our cellular memory.  Doing so we are able to receive healing on all levels, emotionally, physically, mentally and spiritually. 

Red the Red Checkered Pigeon

The coloring on this pigeon is known as a red checkered. Which is why he reminded me of my mom who was a red head, and graying red hair looks exactly like him. This is why I called him Red.  He showed up on a Tuesday and that Friday my brother and I sold and closed on my mom’s house, our child hood home back in Indiana.  The last thing to be done before my mom’s estate is closed.  Coincidence this bird picked me to take care of it?  I think not. 

Commemorating the Death of Vincent Van Gogh with a Book Review: Vincent and Theo, The Van Gogh Brothers

July 29, 2019 marks the anniversary of Vincent Van Gogh’s death, one hundred and twenty nine years ago. What better day to share a review on a book, I couldn’t put down and some general bits of information I found fascinating from reading it.  

 The book is Vincent and Theo, The Van Gogh Brothers by Deborah Heiligman. Organized like a museum each section is called a Gallery as if you were walking from gallery to gallery in a museum looking at paintings that captured the story of Vincent and his brother Theo.  I appreciated this before reading the Author’s Note at the end of the book to discover that was her intention.  Rather than a tome full of dry facts about Vincent and Theo it reads like a gentle narrative where Heiligman disseminates facts she gleaned from extensive research into a more personal chronicle of an endearing relationship between brothers.  It put into persepctive things I didn’t know before aobut the artist and his brother.

Goupil & Cie Gallery, Place de l’Opéra Paris, photo Wikimedia Commons

Vincent started boarding school at age 11 and by age 16 had a job in his Uncle’s firm, Goupil & Ice, as a junior apprentice art dealer. 

How did the letters between Vincent and Theo begin? Vincent at age 19 Theo age 15, would take a long walk together in the Dutch countryside, one older brother counseling the other and they made a vow to always love and support each other.  After the visit Theo will write a thank you note to Vincent, and thus began a lifelong correspondence with each other by letters. 

A drawing of a woman Vincent sent to Theo in a letter, photo Wikimedia Commons

That is until the year between, 1879 and 1880, Vincent age 44 and Theo age 40. After failing as an art dealer, going to 2 seminary schools to become a preacher and failing at that endeavor as well. At his lowest point disappointed in his family for pushing him to make a life for himself and them in him wondering why at age 44 he can not support or take care of himself physically and emotionally, Theo disgusted with Vincent and vice versa, the letters stopped.

Early work around 1879, Mine de Charbon dans le Borinage, when Vincent and Theo don’t correspond, photo Wikimedia Commons

It was then on many of his long walks some more then 50 miles between one country to another, with no money or place to live, camping on the side of the road, Vincent sold some sketches to pay for a few crusts of bread.  Not even knowing it at the time his art career began.

The Yellow House, The Street, 1880, photo Wikimedia Commons, from the Van Gogh Museum

 In the time he spent in Arles, 144 days, he will have painted two hundred paintings and one hundred drawings. A major accomplishment for any artist, it is here that he grows as an artist and develops his signature style. He paints in all genres, landscape, still lives, portraiture, cafe scenes, interiors.  He paints plein air and in the studio in the yellow house in Arles.

Self Portrait, 1888, photo Wikimedia Commons, by the Van Gogh Museum

When Gauguin and Vincent were living together in Arles, although they did encourage each other, Gauguin to Vincent to paint more from his imagination, they fought incessantly.   They didn’t agree on the processes the other used to paint.  They didn’t agree on artists to admire. Gauguin was more of a rebel rouser, which encouraged Vincent to drink more leading him on a downward spiral for physical and mental health.

Self Portrait, 1889, photo Wikimedia Commons by the York Project

From the infamous incident on Christmas Eve of Vincent delivering his ear to his favorite prostitute in a brothel in Arles, Gaugin was the only witness to the ear being cut from his head.  The book speculates that Gaugin may not have been telling the truth.  He was a fencer and he did have is fencing swords with him.  Could he have been in a heated argument accidentally cutting Vincent’ s ear off?  Could Vincent have lied and said that he did it himself?  He was always looking after other’s interests more than his own.  Is it feasible that he could have lied to protect a friend?

Starry Night, 1889, photo Wikimedia Commons, collection Museum of Modern Art

After recovering from his wound Vincent’s mental health starts to deteriorate, he has episodes, nervous breakdowns, which result in visits in and out of the hospital in Arles.  He realizes with the advice from doctors he has a better chance of recovery so that he can continue to pursue painting if he goes the hospital at Saint-Rémy-de-Provence.  It is there while continuing to have mental breakdowns, loading his brushes then eating the paint off of them, between bouts of weeks not painting at all, he still produces 150 paintings, some of his most famous, including his series of Irises and Starry Night.   

Still life of Irises, 1890 Saint-Rény, photo Wikimedia Commons, collection Metropolitan Museum of Art

 I felt after reading the book I got to know an artist that the world admires on a more personal level.  He was an extremely intelligent individual well read and spoke several languages.  He exuded passion in everything he did and when he finally found his calling as an artist after trying to work in a gallery, becoming a preacher, and teacher, he poured is heart and soul in his work.  He spends hours and hours learning to draw, trying to master perspective and the human figure, the latter he was never quite satisfied with and became a constant study for him.  

 He exhibited his work through Theo, at many of the Impressionist’s exhibitions known as the Exhibitions Independent, with Claude Monet, Degas, Sisley, Gauguin, and Cezanne.  In an exhibition in 1890, the same year Vincent is in the asylum at Saint Rémy, Claude Monet tells Theo Vincent’s paintings are the best in the show. Contrary to popular belief, Vincent did sell work before he died, however, his style was way ahead of its time and was appreciated much later. 

Portrait of Theo Van Gogh, by Vincent Van Gogh, 1887, photo Wikimedia Commons, collection Van Gogh Museum

He lived for his art and his brother Theo. Without Theo there would be no Vincent and without Vincent there would have been no Theo.

 When I lived in France a few years ago my family, and a dear family friend went on a pilgrimage to Auvers-sur-Oise, where Vincent died and was buried.  Visiting the attic room where he breathed his last breath, walking the streets, where the last paintings of his life were created were immensely moving, and moments I will never forget. More on that day in a future post.

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Looking West: An Exhibition Highlighting Works by American Women Artists

Did you know that only 3-5% of the permanent holdings in art museums worldwide are by women artists? How pathetic is this?  This is why American Women Artists a non profit art organization made of up women artists in the United States and Canada,  made it their mission to do something about it.  Founded in 1991 with 12 artists exhibiting at the Tucson Museum of Art it is now an organization comprising some of the top women artists today.  AWA’s first juried competition was held in 1997-1998 and since then AWA has launched a 25 in 25 Campaign.  Twenty five exhibitions in twenty five years in prestigious museums throughout the United States.  These exhibitions include other events such as plein air paint outs, and keynote speaking symposiums, open to the public wherever the shows are being held.  

Steamboat Art Museum

I was so impressed with the caliber of artists in this group and truly believed in their mission I joined a few years ago and am extremely proud to have just received Signature status with AWA.  For those not familiar with what that means, Signature status is usually awarded to an artist who has been juried into 3 exhibitions with that particular group or society.  Some groups it may take years to achieve.  AWA also accepts a variety of media including sculpture into their shows.  

My Painting “My Point of View,” Top Second From Left

Steamboat Art Museum

The most current AWA exhibition, Looking West: An Exhibition Highlighting Works by American Women Artists is at the Steamboat Art Museum in Steamboat Springs, Colorado. The show runs, May 24-September 2, 2019.  I recently returned from all the events coinciding with the Opening Reception at the museum.  There are approximately 150 works in the show and it was attended by almost half of the artists!  It was a wonderful opportunity to make new friends and meet in person many artists whose work I have admired for years!  

Steamboat Art Museum

Steamboat Art Museum

One of the events was a workshop given by Carolyn Anderson.  Since I’m primarily a watercolor painter I didn’t take advantage of this opportunity. I’ve heard Carolyn is an excellent teacher.  The first full day in Steamboat, a plein air event was organized in the Yampa River Botanic Park.  I love visiting gardens when I travel, and was thrilled to see trees and flowers from a different climate than Florida.  Since I’m not used to seeing Aspen trees, that is what I chose to paint.  

Yampa River Botanic Park

Painting en Plein Air at Yampa River Botanic Part

Aspen Trees, Watercolor, Painted en Plein Air at Yampa River Botanic Park

That afternoon, Nancy Boren, gave a demonstration at the Wild Horse Gallery. Nancy is an artist I  have long admired and I was thrilled to meet her and get to know her.  Nancy is primarily a figurative painting and not only is her portfolio of work stunning, so was much of the other artist’s work represented in the Wild Horse Gallery.  Visiting the gallery was an extra added bonus in addition to the AWA show. 

Nancy Boren Demonstration at Wild Horse Gallery

The second day we were invited to the 83 acre ranch of well known Western Artist, John Fawcett.  John is an oil and watercolor painter and I first came across his work in person at the 2017 Quest for the West Show at the Eiteljorg Museum in Indianapolis, Indiana.  John and his wife, Elizabeth, where so gracious to host our group and provide a barbecue feast!  This was my first experience painting snow capped mountains.  Just three days before I arrived on the first day of summer Steamboat got about a foot of snow.  Then the rest of the week it was in the mid 80’s. Crazy!

The Fawcett Ranch

My Plein Air Set Up

My Painting Buddy, Carol Swinney

Snow Capped, Watercolor, Painted en Plein Air

That afternoon invited guest artist Carol Carter, gave a demonstration.  I was thrilled to get to spend time with Carol.  She will be joining me again in September for the Florida Watercolor Society’s  48th Annual Exhibition, Convention, & Trade Show in Orlando.  As President of FWS for 2019 I invited Carol three years ago to jury and judge the FWS Show and teach a 4 day workshop with us.  I love Carol and I’m excited to see her again. 

Carol Carter Demonstration

The third day was the Awards Ceremony and Opening Reception of the exhibition for the community and the museum patrons of the Steamboat Art Museum.  At every museum show the museum, with a purchase award, acquires a painting from the show.  Heide Presse will now have her painting, “Pursuing a Dream,” part of the museum’s permanent collection.  

Heide Presse’s Special Exhibit, We Set Our Faces Westward…One Woman’s Journey 1839-1848

Four guest speakers made up the Symposium on the last day of festivities.  Heidi Presse gave a talk on a major project she is working on, We Set Our Faces Westward… One Woman’s Journey 1939-1848.  We were so fortunate to see a preview in the museum of some of Heide’s finished pieces and concepts for others she will be painting.  This project tells the true story of pioneer women gleaned from her 1848 Oregon Trail journal.  The lengths Heide has gone to to be as historically accurate as possible are mind boggling.  Cant find a quilt, costume or bonnet to feature in a painting?  Heide makes her own, historically accurate.  The second speaker was invited guest artist Carol Carter who gave an extremely informative talk on how she built and maintains her art career.  

Jann’s Book

The third presenter was Jann Haynes Gilmore, PhD, art historian, writer, and watercolorist.  Jann’s passion are women artists who have historically fallen throughs the cracks, and feels their stories should be told.  Jann spoke on a remarkable woman artist, Olive Rush, who was the first independent women to be part of the Santa Fe Artists.  Independent refers to the fact that she did not become part of the group based on marriage or an affiliation with a man.  Born in Indiana, studied illustration with noted illustrator Howard Pyle, (as did N.C. Wyeth), her story is fascinating.  Jann has authored an impressive book on her life, Olive Rush: Finding Her Place in the Santa Fe Art Colony, which I’m looking forward to reading.

Donna Howell-Sickles Demonstration

At the end the Symposium noted Western artist Donna Howell-Sickles did a demonstration.  Donna was inducted into the National Cowgirl Hall of Fame in 2007, and is the first woman artist to be asked to create the artwork for the Pendleton Round-Up in Pendleton, OR.  It is the most iconic rodeo in the Professional Rodeo Cowboy Association.  In Donna’s 40 year career she has featured the iconic cowgirl in her work.  

To top off the week, a few of us went to the Steamboat Professional Rodeo!  Another first for me to see a rodeo in person!  

From left, Laurie Stevens, Kim Minichiello, Carol Swinney, Carol Carter

The Yampa River

The town of Steamboat was so beautiful and charming.  It was hard to leave and come back to hot and humid Florida.  I’m still on a high from my spectacular few days there!  No pun intended, or maybe it was. 

The 2019 Plein Air Convention in San Francisco

Back in the late 80s and early 90s my husband and I became familiar with plein air painting.  This is due in most part from our love of the artist Kevin Macpherson, who is one of the preeminent artists working in plein air today.  But also to an art magazine we subscribed to at that time, Plein Air Magazine, published by Eric Rhoads at Streamline Publishing.  We enjoyed it for a few years and then one day a different magazine showed up in our mail box with a letter saying due to lack of interest Plein Air Magazine would no longer be published.   Even though we were not actively painting plein air at the time, we were so disappointed.  We found the magazine to be very inspirational! 

The Faculty for PACE 2019

Fast forward a few years, Eric started publishing the magazine again and it is one of the top selling art magazines in the country.  Plein air is not just a genre of painting anymore it is a movement. Compare the number of plein air artists painting today and the number of plein air events worldwide, to those in the 80s and early 90s and the difference is astronomical.  

Laurie Kersey Demonstration on the Main Stage

My foray into plein air painting started by urban sketching. (That’s a whole other movement worthy of a different article.)  The portability of having a small bag, with a sketchbook, a small watercolor kit, and one brush was all I needed.  The drive to start doing it was our move to Hong Kong back in the mid 2000s.  I wanted to record in sketch form my surroundings, and my travels to document my experiences and the cultures around me. 

My Husband and I painting at the Viansa Winery, photo credit Barbara Tapp

A few years later, both my husband and I are plein air painters, he primarily in oils and me in watercolor.  We both sketch in watercolor too.  Once the popularity of this plein air thing caught on, Eric Rhoads started organizing Plein Air Conventions.  After years of wanting to, and it not working out for one reason or another, we finally attended one this year in San Francisco.  They are in a different location every year. 

“Fog Rolling In,” Watercolor, 10” x 14,” Painted Plein Air at Crissy Field, finished in the Studio

Being a board member of the Florida Watercolor Society and organizing the FWS Annual Exhibition, Convention and Trade Show for 600-700 people for a few years, I thought I knew what to expect.  The Plein Air Convention was similar to what we do, but on steroids!  You could go non-stop if you chose to. There were many wonderful and insightful activities to take part in each day.  

Joseph Zbukvic Workshop

My Convention started on Wednesday with a workshop with watercolor artist Joseph Zbukvic.  While we didn’t get to actually paint in the workshop, it was inspiring and informative to watch Joseph explain his techniques and watch him paint.  There were also Basic’s Courses and a workshop offered by oil painter Joseph McGurl prior to the Convention. 

Editor of Plein Air Magazine and Publisher of Plein Air Magazine, Kelly Kane and Eric Rhoads, Presenting Joseph Zbukvic with a Lifetime Achievement Award

The Convention officially kicked off Wednesday afternoon, Day 1, with an Opening Ceremony given by Eric Rhoads, the Plein Air Salon winner was announced for the year, Life Time Achievement Awards given, a painting demo and a Cocktail Party capped the evening. 

Eric Rhoads at Home Room, Spinning the Wheel for Prizes and Dressing for the San Francisco Weather

Thursday the next full day of the Convention, Day 2, started with Eric’s Art Marketing Boot Camp for the early birds.  They did get the worm.  If you are a professional artist trying to sell or make a living from your work, the three days of this were worth the price of convention.  Everyday after Boot Camp Eric kicks the day off with Home Room. This was brilliant, not only does he give away prizes, including top dollar ones, he informs you of what’s going on that day with pertinent things you need to know.  Then you are off on your own to explore hourly demonstrations, in watercolor, oil and pastel given by professional artists from all over the country.  If that weren’t enough his team has scouted out the best plein air spots for afternoon painting sessions.  Attendees either pre-paid for bus transportation, car pooled, or used Lyft or Uber to get to the paining locations.  

Me and Brienne Brown

A Portion of the Trade Show

Bryan Mark Taylor Demsontrating the Strada Easel He Invented at the Strada Easel Booth. My husband is the new proud owner of one!

Thursday, we went to Crissy Field where I chose to paint the Golden Gate Bridge.  The few days prior to convention when my husband and I arrived in San Francisco we had been in this area for gorgeous weather and full sun. Ironically when the Convention started, the weather took a turn and we were painting, in cold, wind whipping foggy, overcast weather.  I persevered and got enough information on the paper, with some notes to finish later. The struggle I had working in watercolor was my washes were not drying so that I could continue, because it was so damp and cold!   While you are painting there are faculty members easily identified wondering around which you could solicit for feedback if you liked.  Arriving back to the hotel after the painting session, you could still stay busy attending more demos or evening critiques until 10:00 pm.

Painting at Golden Gate Park

The Conservatory of Flowers at The Golden Gate Park

Artist Kathleen Hudson Painting Poppies

Day 3 was pretty much a repeat of Day 2, brand new demos and presentations and a painting session in the afternoon.  At all times during convention there is a huge Trade Show with vendors selling the latest and greatest in art materials, and of course those that have wares and services pertaining exclusively to plein air painting. On the way to the Trade Show, were easels that attendees could rent to display their work as well as an area, where the Plein Air Convention faculty artists could display their work too. The painting session that afternoon took us to Golden Gate Park, where we chose to paint the Conservatory of Flowers. The weather again a cold, wind whipping, sunny when we first got there, but turned overcast kind of day.   After the painting session, there are more activities in the evening, demos and critiques until 10:00 pm.  I went to an organized National Watercolor Society Meet and Greet, where it was great to see old friends and finally meet some social media friends in person!

Trying to Stay Warm Next to a Tree

View I Was Painting

Day 4, the last day of festivities at the hotel, with more demonstrations and presentations was capped off with a Closing Ceremony and your last chance to buy things at the Trade Show before heading out to paint in the afternoon.  I liked that the schedules were interspersed with demos as well as thought provoking presentations.  Jean Stern, the Executive Director of the Irvine Museum Collection, gave one on “Historic Artists of Northern California.”  Another, “Plein Air and the Movie Industry,” was a panel discussion with artists from Pixar and DreamWorks.  Many of the presentations Eric recorded for the Plein Air Podcast are available to listen to here. 

Artist Larry Moore Presentation on Creativity and Demo in Gouache

Displaying One of My Plein Air Paintings at the Convention

We didn’t have much luck weather wise the last afternoon’s painting session was just like the previous two. We were troopers though and gave it our best shot.  It was still wonderful spending time at the scenic locations in San Francisco. Instead of evening sessions on Saturday, everyone had a chance to blow some stink off at a dance party.  

Last Day Painting at Viansa Winery in Sonoma

Chatting with Stewart White at the Viansa Winery

Day 5, Sunday, gave everyone the opportunity to paint all day!  Our last painting location was at Viansa Winery one hour north of the city in Sonoma.  Lady luck was with us that day, the weather was gorgeous!  

Painting at Viansa Winery, photo credit Carolyn (Martinez) Romer

“Wine Tasting,” Watercolor, 14” x 10” Plein Air at Viansa Winery

There were so many takeaways from my 5 days at the Convention!  Would I do it again?  In a heartbeat!  I liked that there were demonstration sessions in a variety of mediums giving artists that paint in more than one, like myself, a variety.  I met artists that inspire me in person, and by attending two demos using gouache, I am anxious to add that to my repertoire.  If it sounds like a lot, everything is optional, you don’t have to do it all and I didn’t.  Most importantly one of the biggest take-aways was making connections with those that have the same passion and learning and sharing experiences.   At the Convention I met an artist I feel will be a life long friend from New Zealand.  Yes, she traveled the farthest to get there!  I also made personal connections with Facebook and Instagram friends. 

Paul Kratter Painting on the Main Stage, with Charlie Hunter, Larry Moore and Shelby Keefe

If you are on the fence about attending a Plein Air Convention, I highly encourage you to go at least once. There are those that attend that have never done it before. What better place to try it for the first time? You would not believe some of the stories shared.  One unique cirmustance this year involved a woman who was reunited with her son who had been taken away from her when he was young. He had been doing Google searches for her and finally found her her as an attendee of the Convention! He came they were reunited after years apart. It has been life changing for many and it may be for you too!

Monet: The Late Years at the de Young Museum, San Francisco

Wow, I can’t believe it’ has been so long since my last blog post! Before talking about the Monet Exhibition, I’ll give you a brief update. I have had a lot of irons in the fire this year.  If you subscribe to my newsletter, you know in January, after working on the Board of Directors of the Florida Watercolor Society for four years, I’m officially President for 2019.  It takes a substantial amount of time to plan for an Annual Exhibition, Convention and Trade show attended by 600 people!  That is all taking place in Orlando September 19-22.  Everyone is invited!  If you would like more information, head on over the FWS web site.  We are also offering four workshops prior to the big Convention, taught by Carol Carter, Carrie Waller, Steve Rogers and Vladislav Yeliseyev.  Check those out too and come join the fun!

I’ve also been teaching a few workshops, and  squeaking some painting time in here and there.  Last March I had eight lovely students join me in my home studio for a “How to Achieve Texture in Watercolor Workshop.”  If any of you have taken a workshop in my home studio, you can vouch that I spoil and pamper you the whole time!  Contact me if you would like to be added to my “Advanced Notice List” for workshops or subscribe to my newsletter, which will always let you know where I will be teaching.  

The Artist's House at Giverny 1912-1913

I’ve  sent work out to some amazing exhibitions that I was honored to be chosen for.  The Fallbrook International Signature Watermedia Exhibition in Fallbrook, California  and The American Women Artists 25 Museums in 25 Years, show this year at the Steamboat Art Museum in Steamboat, Colorado.  I’ll be heading out there in June for the opening.  I’m currently in a show at the Albin Polasek Museum & Sculpture Gardens  in Winter Park, Florida, called “Precious Pollinators,” with the Central Florida Watercolor Society.  It’s a great show focusing on a worthy cause,  making us aware of the current plight of the bee population! 

Corner of the Water-Lily Pond 1918, 1919

Corner of the Water-Lily Pond 1918, 1919

One of the highlights of the year was attending the Plein Air Convention, in San Francisco last April.  More on that event in the next blog post!  My husband, also a plein air painter joined me and we arrived a couple of days early to take in museums.  As luck would have it, Monet: The Late Years was going on at the de Young Museum!  If you are a follower of my blog you may have read a series of posts I have done on Monet, prompted by reading Mad Enchantment by Ross King.  Welcome, if you are new and happened upon this post! If you would like to read that series of posts start here.  This show at the de Young focused on the exact time period as King’s book.  The show closes on May 27, if you are in the area it is worth a visit.   

It blows my mind how prolific he was in the latter years of his life, painting the whole time during World War I, trying to overcome his difficulty with cataracts and the death of his wife.  The body of work, in the show was from museums across the globe, and many were from private collections. I always think when I see a painting from a private collection how lucky I am to have the chance to see it and study it.  Talk about living in the moment! In the span of 16 years from his 70’s to his death at age 86, he painted bigger, bolder, and more abstractly focusing on a limited subject matter, his gardens at Giverny, most notably the water lily pond.  

Water Lilies 1914, 1917

Water Lilies 1914 1917, Detail

Water Lilies1914, 1915

Water Lilies 1914, 1915, Detail

Water Lilies 1921, 1922?

Water Lilies 1921, 1022?, Detail

It is believed by the curators that many of the works in this show are studies for the “Grand Decoration,” the momumental works in the L’Orangerie in Paris. This exhibition was such an inspiration!  I hope at that age I have the health to continue to do what I love to do, and the freedom to play and experiment to my heart’s desire!   Do you have a favorite Monet painting or museum moment?  I would love to hear about it.  

Links to Other Monet Articles:

Part 1: Mad Enchantment: Claude Monet and the Painting of the Water Lilies by Ross King

Part 2: Mad Enchantment: Claude Monet and the Painting of the Water Lilies by Ross King

Musée L’Orangerie: A Peculiar Visit

Outlander "The New World" Costume Exhibit at the SCAD Museum of Art

The phenomenon  that has become “Outlander” started with a series of seven novels written by Diana Gabaldon first published in 1991 through 2009.  If you like historical fiction with a time travel twist then this series is for you.  The first novel titled “Outlander” was inspired by an episode of Dr. Who, and her idea for the series and the characters evolved from there.   With degrees in zoology and marine biology, Diana has a very interesting background, you can read about her here.  

Costumes for Claire and Jamie Fraser

In 2014 a television series based on the Outlander books premiered on Starz, and has been a popular franchise ever since. The fourth season “The New World,” premiered this past November 4. My daughter and I have been huge Outlander fans from day one.  The story, time period, place, actors, costumes, music, we love it all.  The series and music soundtrack kept her company on many nights in college while working on projects or writing papers and was my background music for many life drawing sessions.   Now an actor and  graduate of SCAD, Savannah College of Art & Design,  she was recently invited back to the Savannah Film Festival that SCAD sponsors every year.  

Costumes for Native American Characters

One of the highlights this year was the season four premier “The New World.”  In conjunction with the premier was a Q & A with the cast and an exhibition of some of the costumes from the new season at the SCAD Museum of Art.  The costumes are designed by Emmy award winning costume designer, Terry Dresbach.  

Actors from left to right, Sophie Skelton (Brianna Randall Fraser), Sam Heughan (Jamie Fraser), and Caitriona Balfe (Claire Randall Fraser), photo credit Alaina Minichiello

Detail, costume Native American Character

As it happens, I was traveling to Charleston, South Carolina to pick up artwork from two shows I was part of this past summer and fall with WAM: Women Artists Mentors members at the Customs House Museum in Clarksville, Tennessee and The City Gallery in North Charleston.  Savannah is just a hop skip and a jump away so I made detour to see the exhibition.  

Costume Claire Fraser

Years ago I used to do textile art and a had a little part of myself that had the desire to go into costume design, but chose a different design path.  It was a treat for me to study the show and get a little “Outlander” fix in anticipation of the new season.  

Costumes, Native American and Slave Characters

If you live in the area, the show closes on December 2, you still a little time left! 

Costume, Native American Character

A little tip:   To all my fellow artists out there if you ever do go the the SCAD Museum of Art, just across the street is the SCAD book store, Ex Libres.  Unlike any other college book store, it has three floors of art supplies!  As SCAD has such a diverse range of majors, there are goodies in there that you won’t find in other art stores. 

Musée de L'Orangerie in Paris: A Peculiar Visit

While living in Paris, I felt very fortunate to visit the L’Orangerie many times.  I never got tired of going.  On one occasion, as I entered the first oval room beyond the entrance, I noticed something a bit peculiar.  The room was almost completely empty aside from four gentleman strategically standing at each entrance and exit,  and two in the middle along the perimeter of the oval.  They were all dressed in black suits and neatly coiffed with tight short hair cuts, sporting ear pieces.  I felt like I was walking onto a movie set, however, there were no cameras or lights.  In the center of the room was a very tall African America man with a women who appeared to be one of the curators of the museum. 

Claude Monet's "Water Lilies, Reflecions of Weeping Willows," ca. 1918, at the Metropolitan Museum of Art, New York. A study for the the grand paintings in the L'Orangerie in Paris

 The men in dark suits watched my every move.  Wherever I want their eyes followed me.  It felt rather creepy.  The tall African American gentleman looked familiar but I couldn’t place who he was.  I knew I had seen him before.  As he proceeded to the next room all the "suits"  surrounded him and staged themselves as before, in the second room.  I followed.  I sat on a bench in front of one the water lily paintings where I could also get a good look at the tall gentleman all the “suits"   seemed to be  protecting.  It finally dawned on me!  It was the former Attorney General of the Untied States Eric Holder, obviously being surrounded by US Secret Service Agents. However at the time he was “the” Attorney General under the Obama Administration.   This was almost ten years ago.  I’m not so sure they would even let other patrons in the same room with the Attorney General now.  The crowd was very light that day.  Myself and a handful of others aside from these very special guests were the only ones there.  They kept a very watchful eye on where we were all pointing our cameras!

Here is a short video to give you the idea of the space.  Forgive the quality this was taken on a small Sony camera pre cell phone!  It will sill still give you an idea of the scale of the paintings in this one room.  This video was shot on a different day than the one described above.  I wasn't taking the chance of getting my camera confiscated by the Secret Service!