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JANUARY 2015 $6.95 U.S. 8.95 CAN.

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Plein Air Heritage William Blair Bruce (1859-1906)

Summer Day William Blair Bruce (1859-1906) c. 1890, oil on canvas, 80 x 100 in. Collection Art Gallery of Hamilton, Ontario

When Canadian artist William Blair Bruce died prematurely at the age of 47, his widow, Caroline Benedicks Bruce (1833-1927), donated a collection of his paintings on the promise that the city of Hamilton, Ontario, in Canada would establish an art gallery in which the work could be exhibited. That gallery, the Art Gallery of Hamilton, recently celebrated its centennial with a major retrospective of Bruce’s work. A catalogue for that exhibition has been published by D. Giles Ltd in association with the Art Gallery of Hamilton ( Bruce painted in all the locations in France where the Impressionists worked at the end of the 19th century, including Barbizon, Giverny, Grez, and Gotland. He often used his wife as the subject of his plein air and studio pictures, including this painting, which appears to be a double portrait of Caroline Benedicks Bruce. Although the focus of her career was on sculpture, Benedicks Bruce often made drawings and paintings outdoors that informed her bronze figurative pieces — something she seems to be doing in her husband’s oil painting. / December-January 2015

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Copyright Š2015 Streamline Publishing, Inc. PleinAir Magazine is a trademark of Streamline Publishing, Inc. All rights reserved. PleinAir Magazine (ISSN 2160-0694) is published 6 times annually by Streamline Publishing, Inc., 1901 S. Congress Ave., Ste. 118, Boynton Beach, FL 33426, for $37.99 per year in U.S.A. (two years $57.99); Canadian and European subscriptions $74.99 for one year ($104.99 for two years). Periodicals postage paid at Boynton Beach, FL (and additional mailing offices). POSTMASTER: Send address changes to: PleinAir Magazine, 1901 S. Congress Ave., Ste. 118, Boynton Beach, FL 33426. Any reproduction of this publication, whole or in part, is prohibited without the express written consent of the publisher. Contact Streamline Publishing, Inc., at address below. All subscriptions, renewals, and changes of address should include address label from the most recent issue and be sent to the Circulation Department, PleinAir Magazine, 1901 S. Congress Ave., Ste. 118, Boynton Beach, FL 33426. Copying done for other than personal or internal reference without the express permission of PleinAir Magazine is prohibited. Address requests for special permission to the Managing Editor.  Reprints and back issues available upon request. Printed in the United States. Canada returns to be sent to Bleuchip International, P.O. Box 25542, London, ON, N6C 6B2.

December-January 2015 /

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March, 22x28 inches, Oil on Board Winner of 2012 Oil Painters of America National Juried Gold Medal Award for “Tide”. Winner of 2014 Oil Painters of America National Juried Bronze Medal Award for “Winter of Sylvan”.

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Museum & Organization Officers Peter Adams, President, California Art Club ( Sandy Askey Adams, En Plein Air Group, Facebook ( Antony Bridge, Pochade.Co.UK ( Christopher Forbes, Vice Chairman, Forbes Inc. ( Gil Dellinger, President, Plein Air Painters of America ( Lori McNee, Bruce Weber, Sr. Curator of 19th-Century Art, National Academy of Design (


Clyde Aspevig ( Scott L. Christensen ( Donald Demers ( Michael Godfrey ( Jeremy Lipking ( Kevin Macpherson ( Joseph McGurl ( Camille Przewodek ( Ed Terpening ( Keith Wicks ( Randy Higbee (

1901 S. Congress Avenue, Suite 118 Boynton Beach, FL 33426 Phone: 561.655.8778 • Fax: 561.655.6164 Chairman/Publisher/CEO B. Eric Rhoads Facebook: /ericrhoads • Twitter: @ericrhoads EVP/Chief Operating Officer Tom Elmo Production Director Nicolynn Kuper Director of Finance Laura Iserman Accounting Randa Debrowski Circulation Coordinator Sue Henry Marketing Director Ilene Perry Creative Director, Advertising Stephen Parker Assistant to the Chairman Ali Cruickshank


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Plein Air Heritage Publisher’s Letter Can Plein Air Be Defined?


Editor’s Note Knowing When to Be Slow & Steady 25 Classic Moment 102 Painters Painted

Following page 18: Ultimate Artists’ & Collectors’ Guide to PLEIN AIR EVENTS & ORGANIZATIONS

Expanded Digital Edition Content Plein Air Adventure Two Artists Invited to a Château on the Riviera





Historic Influences Following Canada’s Great Plein Air Painters

Painting Directly From Nature Joseph Paquet: Speaking Through Our Paintings





By M. Stephen Doherty





Théodore Rousseau (1812-1867): When Exhibits of Plein Air Paintings Became Acceptable HISTORIC INFLUENCES

Lissa Nicolaus: Markings of a Time & Place PLEIN AIR ADVENTURE

Aaron Schuerr: What Happens When You Paint in Morocco By Bob Bahr

Artist Profile Randall Graham Using Plein Air Studies to Paint Murals

59 64 69


Rick J. Delanty: Unifying Expressions in Oil & Acrylic Paintings Morgan Samuel Price: Getting to the Fun Part of Painting ARTIST PROFILE

Woody Cyrus: Crystallizing Experiences ARTIST PROFILE

Clive R. Tyler: No Limits on Pastel Paintings WATERCOLOR DEMONSTRATION

Tom Lynch: Painting Concepts, Not Just Locations PLEIN AIR EVENTS

PleinAir Salon Semi-Finalists, Second-Year Successes, More COVER IMAGE: Italian Quarter, Gloucester (detail) Joseph Paquet 2014, oil, 8 x 12 in. Private collection Plein air


December-January 2015 /

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Paradise Paint Out Islamorada, Florida Keys January 12-16, 2015

Paradise Paint Out is an invitational Plein Air celebration where 26

artists create a body of work reflecting Islamorada & the Florida Keys. This inaugural week-long event combines the stunning and vibrant colors of island living with talented artists from across the country. Hang Awhile by Kathleen Denis Morada Way Arts & Cultural District is a not for profit 501(c)3 organization

In partnership with The Ocean Reef Art League

FEATURED ARTISTS Natalia Andreeva Steve Andrews Linda Apriletti Cathy Berse John Stephen Caggiano Peter Carolin Kathleen Denis Charles Dickinson Sally Evans Bill Farnsworth Elisabeth Ferber Robert Harper Scott Hiestand

Brenda Hofreiter Jen Holmes Linda Holmes Hai-Ou Hou Richard Lundgren Larry Moore Claudia Moriarty Randy Pitts Gary Rupp Tom Sadler Robert Simone Don Sondag Lynn Whipple

publisher’s letter

Can Plein Air Be Defined?


recent online discussion asked, “What is plein air?” The question raised a lot of issues, opinions, and even a heated and passionate discussion about what it is and what it is not. It was clear, like a no-win political discussion between opposing parties, that there was no clear answer. For every response, there was a debate from someone with a different opinion. For instance, some said a plein air painting is not pure unless the painting has been executed fully outdoors in one session, with no touch-up work on it in the studio afterward. Others felt it must be one single painting session, and that taking the painting to the same spot multiple times is unacceptable. Still others said a painting done from a plein air study in studio does not qualify as a plein air piece, and some wrote that plein air is not just the act of painting outdoors on location, but is a certain style, much as Impressionism is a style. It’s not my place to try to make a ruling on these questions or to debate my readers and friends over their points of passion. It’s more appropriate for me to point out that we are in the middle of a historic plein air movement. Since this magazine was launched, we have seen tens of thousands of people learn to experience plein air painting, as thousands of art buyers are exposed to plein air paintings at hundreds of events, most of which did not exist even five years ago. No matter what the definition is, this is a movement to be celebrated. People across the globe are finding joy in visiting plein air events, purchasing paintings that are filled with life and energy, and the term plein air has a higher awareness level than ever before (though there is much more education left to do). Painters and artists are gathering more frequently than ever in local, state, and national events as well as clubs and professional organizations, and tens of thousands have found joy in painting, traveling to paint, studying in workshops and at events like the Plein Air Convention & Expo, and making new friends. As I’ve said in the past, it’s like the new golf. People who want to be outdoors have an option many hadn’t known was available to 10

them, and it’s tapping their creative side and is a continual challenge. What I love about plein air painting is that it is not only a lifestyle, it’s one that allows people to see the world differently. Looking back on my own paintings created from photographs before I began to work from life, I see my pictures looked flat and lifeless. Values were often incorrect, and the color and drawing were distorted. Painting from life changed how I see, and the skills I acquired changed the way I paint in the studio. Suddenly, all my paintings came to life, which I think is the essence of the argument. Plein air painting is about reflecting

nature truly, no matter your particular interpretation or style. There is no right or wrong. No matter what side of these debates you stand on, our shared goal as painters should be producing a pleasing painting at the highest level of quality we can accomplish. The other goals are continual growth, self-expression, development of our personal voice, and conveying how the scene makes us feel. I’m less concerned about the definition of plein air and more on the joy it brings to those who paint and collect. We are all living in a wonderful time, when we can be part of this plein air movement as collectors and painters. History will look upon these times as an important movement in art, no matter how you define the term plein air.

B. ERIC RHOADS, CHAIRMAN/PUBLISHER E-mail: Phone: 512.607.6423 Facebook: /ericrhoads Twitter: @ericrhoads

December-January 2015 /

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Knowing When to Be Slow & Steady

Painting during the Solomons (MD) Plein Air Festival (September 17-21, 2014) organized by Carmen’s Gallery, Ltd.


hen I was being seriously considered for the job of editor-inchief of American Artist magazine in the fall of 1978, I spent an entire day being interviewed and tested by a psychologist. He administered the usual tests to help determine how I might actually perform on the job, and then he asked me to squeeze a rubber ball to push water up a vertical tube. In my first effort, I applied maximum force on the ball and the water rose only a few centimeters. I thought about the challenge for a minute, and then squeezed the ball again with a slow, steady pressure. That time the water rose to the top of the tube. I think about that test when I am painting outdoors. When I first attempted to paint directly from nature, I was in a rush to capture scenes that were constantly changing. I worked fast and furiously, and, like my first effort at pumping water, the frantic paintings fell far below the highest possible mark. I catch myself doing the same thing now, especially during plein air competitions when the pressure to create prize-winners gets the best of me. I came to understand the value of taking a slow and steady approach to plein air painting when I watched and interviewed master artists for the magazine. They first looked carefully and evaluated potential 16

painting locations. They talked about what was most important about the scene, sketched out possible compositional arrangements, drew the outlines of key shapes, and blocked in the pattern of shadows. Only then did they use brushes to pull identifying shapes out of the mass of value patterns on their canvases. It was clear to me that their success came from thoughtfulness, not the rush of frantic energy. The artists featured in this issue are waiting to show you how they respond thoughtfully and creatively to subjects as diverse as deserted factories, tropical vegetation, and cattle ranches. Moreover, they offer these insights along with information about painting with watercolors, pastels, acrylics, or oils. They want to help you work smarter, not harder, and they want you to enjoy success, not disappointment. M. STEPHEN DOHERTY Editor-in-Chief

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Ringling College | Englewood Art Center Is

Celebrating Florida Landscape Ringling College | Englewood Art Center is pleased to present a season of classes, workshops and exhibitions dedicated to celebrating the ways in which the Florida landscape inspires artists working in all media.

Exhibitions Lori Putnam | Florida en Plein Air December 2 – December 19, 2014 Monday – Friday, 9am – 5pm Conservation Foundation’s Bay Preserve at Osprey 400 Palmetto Avenue, Osprey, FL 34229

Jan Christensen | Landscape in Panorama January 5 – 17, 2015 Monday – Friday, 9am – 5pm Conservation Foundation’s Bay Preserve at Osprey 400 Palmetto Avenue, Osprey, FL 34229

Celebrating Florida Landscape | Photography Group Show January 8 – 30, 2015 Tuesday – Saturday, 9am – 4pm Englewood Art Center, 350 S McCall Road, Englewood 34223

Celebrating Florida Landscape | Painting, Drawing, Sculpture Landscape Outside Exhibition Thursdays in December, January, February, 9am – Noon RC | EAC Pop Up Tent Englewood Farmer’s Market, Old Dearborn St., Englewood, FL

Partially paid for by:

Mike Hodges: Land Escapes, contextual abstract painting February 8 – 30, 2015 Tuesday, 9am – 9pm, Wednesday – Saturday, 9am – 4pm Englewood Art Center, 350 S McCall Road, Englewood 34223

For details visit: Sponsored by:




THE ULTIMATE 2015 Artists’ & Collectors’ Guide to PLEIN AIR EVENTS & ORGANIZATIONS


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Ultimate Guide 2015/


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PUBLISHER B. Eric Rhoads Twitter: @ericrhoads • Facebook: /ericrhoads EDITOR IN CHIEF M. Stephen Doherty


MANAGING EDITOR Brida Connolly • 702.299.0417 PRODUCTION DIRECTOR Nicolynn Kuper • 561.767.8562

To the Second Annual Ultimate Artists’ & Collectors’ Guide to Plein Air Events & Organizations


VICE PRESIDENT/GENERAL MANAGER Carolyn “Charlie” Bogusz • 970.266.9986

fter the overwhelming success of our first guide for artists and collectors, we were encouraged to put together another helpful supplement that includes two different sets of listings. One assembles the names and contact information for ORGANIZATIONS of plein air painters, by state; and the other lists outdoor painting EVENTS, by state, with appropriate contact information. Organizations and events that bought display advertising were entitled to longer listings. We worked hard to include every organization and event we could find, but we know we missed a few, especially those just getting started. If you are part of an organization or you know about an event we missed, please let us know directly or ask a representative of the group to send us information. We want to include everyone in the Guide who is spreading the joy of outdoor painting, whether they are small or large, new or well established. Everyone on the PleinAir team is deeply involved in the community as participating artists, event organizers, appreciative collectors, and/or willing supporters, so we do our work out of a sense of passion and service. Our publisher, editors, sales managers, and support staff are eager to help you succeed, and we are always available to lend a hand to your organizations and events. That help might include recommending judges, offering prizes, suggesting promotions, sending issues, or publicizing your activities in the magazine (print and digital) and the PleinAir Today weekly e-newsletter. As part of our passion and service, we offer a series of bimonthly PleinAir Salon competitions to recognize some of the best artists and give them cash and international recognition (www.pleinairsalon. com). We also stage the annual Plein Air Convention & Expo, where artists, collectors, and suppliers can meet their friends and heroes face-to-face. The 4th annual convention is schedule for April 13-17, 2015 in Monterey, California ( Finally, we encourage artists who are joining our community by offering instruction through our expanding DVD program ( It’s all available to help you enjoy outdoor painting. Happy painting! CAROLYN “CHARLIE” BOGUSZ VICE PRESIDENT/GENERAL MANAGER 970.266.9986

NATIONAL SALES MANAGER, SUPPLIERS Richard Lindenberg • 415.948.6142 REGIONAL SALES MANAGER, CALIFORNIA AND SOUTHEASTERN U.S. Krystal Allen • 415.669.7006 REGIONAL SALES MANAGER, FLORIDA AND THE NORTHEAST Violeta de la Serna • 786.899.0935 REGIONAL SALES MANAGER, MIDWEST AND CENTRAL U.S. Gina Ward • 920.743.2405 REGIONAL SALES MANAGER, WESTERN U.S. Anne Weiler-Brown • 435.772.0504 DIGITAL AD MANAGER Kari Stober 970.631.3637 • PleinAir Today Bob Bahr, Editor Jeffrey Carlson, Contributing Editor Subscriptions: 561.655.8778 or WEBSITES for artists for collectors Copyright ©2014 Streamline Publishing, Inc. PleinAir is a trademark of Streamline Publishing, Inc. All rights reserved. Any reproduction of this publication, whole or in part, is prohibited without the express written consent of the publisher. Contact Streamline Publishing, Inc., at address below. 1901 S. Congress Ave., Ste. 118, Boynton Beach, FL 33426. Copying done for other than personal or internal reference without the express permission of PleinAir Magazine is prohibited. Address requests for special permission to the Managing Editor. Reprints and back issues available upon request. Printed in the United States. Canada returns to be sent to Bleuchip International, P.O. Box 25542, London, ON, N6C 6B2.

AT OM Ultimate Guide 2015/



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What Explains the Growth of Outdoor Painting?

James Richards painting in Wisconsin

One question we are often asked is why there is such great enthusiasm for painting outdoors. That inquiry comes from collectors, who want to understand why so many of their friends are traveling to plein air festivals and returning home with freshly painted images of those locations. It is also posed by artists who are eager to know how they might join in the fun and accept the challenge of working directly from nature. Here are just a few of the explanations offered by those who are already active members of the growing community of plein air enthusiasts. 1. LOVE OF THE OUTDOORS

Many of the artists and collectors profiled in PleinAir magazine indicate they’d had a lifelong love of hiking, camping, fishing, walking, biking, gardening, and other activities that allow them to exercise and enjoy the glory of nature, and they also enjoy creating art, or appreciate what others create. The logical way to combine those interests is by becoming a plein air painter, or to follow artists who are professionals in the field. The key to maximizing one’s enjoyment of these activities is to learn what equipment is appropriate, which techniques are effective, what groups are open 4

Tennessee artist Lori Putnam in Richmond, VA

to new members, who teaches classes and workshops, where the events take place, and how to build a collection of paintings that relate to one’s interests. PleinAir magazine covers all those activities, six times a year, with both print and digital editions. This special annual supplement is an indispensable tool to prepare for a new year of outdoor painting events.

drips a masterpiece, but those reasons eluded most people who visited museums and art galleries. Plein air painting celebrates the connections between painting and nature, between the general public and depictions of hometown scenes, and between skillfully executed artwork and discerning collectors. It is a positive, joyful activity that can be just as profound as any other form of artistic expression.


Another common thread that connects outdoorpainting enthusiasts is a desire to either paint or collect paintings of favorite locations. For example, people who love the open spaces and majestic mountains of the West seek out opportunities to pursue that, while those who have long associations with the South, the Northeast, the Midwest, or foreign locations go in search of paintings of the regions they’re so fond of. The art world didn’t always recognize this motivation for painting and collecting. Museums and art magazines have been preoccupied with artwork that had meaningful content, but often made it difficult for most people to understand or appreciate that content. There may have been good reasons to call a slab of rusting metal or a canvas covered in paint


Since the first Earth Day, on April 22, 1970, there has been greater recognition of the fact that we are all stewards of the environment and of the history of our communities. That awareness influences plein air enthusiasts, and their efforts as painters and collectors demonstrate their efforts to be responsible and concerned citizens. The artists paint as a way of calling attention to what might be lost to future generations, whether that be an aging barn, a wildlife habitat, or a sailing vessel, and collectors influence those artists by purchasing paintings that reflect their concerns and appreciations.

Ultimate Guide 2015/


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A display of outdoor paintings in Cumberland, MD



Plein air painting is obviously a more social activity than studio painting, and while it doesn’t replace or supersede the thoughtful and solitary activity of the studio, it offers artists and patrons a greater opportunity to share creative activities. That’s why artists join art organizations, Facebook community pages, scheduled festivals, and educational workshops, and it’s why collectors watch artists at work, listen to panel discussions, and question awards jurors.

A percentage of sales from many plein air events is given to nonprofit environmental groups, educational programs, art centers, community centers, or charitable foundations. By purchasing paintings, patrons help support their own communities and the worthwhile services provided to residents and visitors. Many artists who participate in these events find it easier to engage potential buyers in a conversation about the organizations benefiting from festivals. Once that conversation is underway, it becomes easier for observers to ask questions of the artists and for the painters to share information about their work.


A major festival organizer surveyed patrons who bought paintings during an annual event and discovered that many of those people harbor a desire to become artists — or, at least, to increase their understanding and appreciation of the work created during the festival. Outdoor painting events allow those curious folks to watch, ask questions, and show their support without buying a ticket, giving up an e-mail address, or filling out a questionnaire. One of the great things about plein air events is that they make artists, their paintings, and the creative process completely accessible to the general public.

7. HAVING FUN A young artist painting in Easton, MD

Unlike many galleries and museums, these events are not set up to intimidate people or pre-qualify collectors. They are opportunities for people of all ages, income levels, and backgrounds to understand and appreciate the creative process.

Perhaps the best reason for the growth of interest in plein air painting is that it is a proud and joyous celebration of art and communities. It’s a positive experience that brings attention to hometowns, regional scenery, seasonal changes, local industries, community groups, and talented artists. No wonder so many people are willing to volunteer to manage these events and so many artist are eager to participate. Ultimate Guide 2015/



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ALABAMA Selma Pilgrimage Paint the Town Dates: March 20-21, 2015 E-mail:

11th Annual

Southeastern Plein Air Invitational Dates: April 6-12, 2015 E-mail:


Amery Bohling painting at the 2013 Sedona Main St Paint-Out Photo by Kelli Klymenko

Grand Canyon 7th Annual Celebration of Art Dates: September 12, 2015-January 18, 2016 E-mail:

Ongoing Exhibition / Sale with new work added daily Painting Workshops with Festival Artists Paint-Outs at various locations

888-954-4442 Presented by:


Sedona Plein Air Festival Dates: October 17-24, 2015 Opening Reception: October 17, 2015 Entry Deadline: December 30, 2014 Sponsoring Organization: Sedona Arts Center City: Sedona Format: Invitational Contact: Kelli Klymenko E-mail: Phone: 928.282.3809 Website: Sedona Plein Air Festival pays homage to the spirit and innovation of the great French Impressionists whose paintings were based on the belief that “you should trust your eyes” to capture the beauty that surrounds you. There is no setting more perfect than Sedona and Oak Creek Canyon in late October to find vibrant, unexpected scenic beauty. It is truly an artist’s paradise. Thirty award-winning artists, selected from among the best of the best, have accepted invitations to participate in this showcase. They spend eight days painting en plein air, and sharing with observers their incredible talent and unique experiences with this challenging art form.

ARKANSAS 7th Annual Plein Air on the White River Dates: April 29-May 2, 2015 E-mail:

CALIFORNIA Desert Art Center of the Coachella Valley Paint Outs Dates: January 8-May 7, 2015 E-mail: Plein-Air Painters of America: Legacy of the Land Dates: March 21-May 3, 2015 Opening Reception: March 21, 2015 Sponsoring Organization: San Dieguito River Valley Conservancy Venue: California Center for the Arts City: Escondido Format: Invitational Contact: Susan Hallsten McGarry E-mail: Phone: 505.982.6379 Website: PAPA joins the Art in Nature Alliance to mount an exhibition and sale of plein air and studio paintings of northern San Diego County landscapes and seascapes by Ken Auster, Kenn Backhaus, John Budicin, Lorenzo Chavez, Gil Dellinger, Kathleen Dunphy, Gay Faulkenberry, Lynn Gertenbach, Raleigh Kinney, Jean LeGassick, Robert Lemler, Joseph McGurl, Ned Mueller, Ralph Oberg, Ron Rencher, Ray Roberts, Randall Sexton, Matt Smith, Kate Starling, Brian Stewart. A portion of the proceeds benefits the non-profit San Dieguito River Valley Conservancy. The opening night gala includes a lecture on collecting art by Jean Stern, director of the Irvine Museum.

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A Day of Nature and Art Date: March 29, 2015 E-mail:


Plein Air Artists of Riverside 10th Anniversary Extravaganza Paint Out Dates: April 10-19, 2015 E-mail: 4th Annual Plein Air Convention Dates: April 13-17, 2015 Sponsoring Organization: PleinAir Magazine Venue: Monterey Convention Center and Portola Hotel City: Monterey Contact: PleinAir Magazine Phone: 561.655.8778 Website: http://www.pleinairconvention. The Plein Air Convention is the world’s largest gathering of outdoor artists. With a faculty of over 70 instructors, the event is designed to inspire painters and fine-tune their skills. The convention features indoor painting demonstrations on stage with big screen views, in watercolor, pastel, and oil painting. Daily painting as a group features instructors who walk around to offer suggestions as you paint. The giant Expo Hall features art supplies and frames at deep discounts. Plus you can attend our daily sessions of Art Marketing Boot Camp with Eric Rhoads. There is also an art show of faculty and attendee artworks that is open to the public. Two optional events include a one-and-a-half day intensive workshop (April 12-13) with C.W. Mundy and an optional Basics course (April 13) for beginners. The 2015 faculty includes George Carlson, Len Chmiel, T. Allen Lawson, Quang Ho, Cathy Anderson, Michael Reardon, Albert Handel, Roger Dale Brown, Jean Haines, and many more. To register or learn more, visit Sierra Pastel Society 3rd Annual Spring Paint Out Date: April 18, 2015 E-mail: PASO ARTSFEST Dates: May 22-24, 2015 E-mail:

n Air i e l P s o t a Los G & Sale 5

An Exhibition & Sale Benefiting the San Dieguito River Valley Conservancy

xhibit 0 June 16-2

Fine Art E

Backyard Garden by: 2014 Best of Show Artist John Guernsey

Join Us For The 7th Annual Plein Air Fine Art Exhibit & Sale Enjoy the unique charm and beauty of Los Gatos - situated at the base of the Santa Cruz Mountains. The event showcases 34 of the nation’s most prestigious plein air artists. Early registration guarantees a ticket to Friday’s VIP Artists’ Choice Reception & Silent Auction. The culmination of more than 100 original oils, watercolors and pastels go on display Saturday, June 20th at the Los Gatos Town Plaza - 11 a.m.- 5 p.m. Hundreds of art lovers attend with the goal to own an original work of art.

March 22 to May 3, 2015 California Center for the Arts, Escondido Opening Gala: March 21, 2015 Tickets: Presented by: Los Gatos Morning Rotary

14th Annual Paint San Clemente Plein Air Competition

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Paint San Clemente Dates: June 13-21, 2015 Opening Reception: June 20, 2015 Entry Deadline: June 1, 2015 Sponsoring Organization: San Clemente Art Association Venue: San Clemente Art Gallery City: San Clemente Format: Open Award Total: $13,000 Contact: Pam Hill E-mail: Phone: 949.369.0260 Website: “The Spanish Village by the Sea,” San Clemente, will again graciously play host to the 14th Annual Paint San Clemente. Locally and nationally recognized plein air artists will offer up their unique views of the historic city while competing for $13,000 in prize money. First look at the award-winning paintings comes at the Collectors’ Evening Gala on June 20, 6:00-8:30 p.m., and is held in the San Clemente Community Auditorium. As a reminder, proceeds from this event will be dedicated to the San Clemente Art Association’s “Art Reach Program,” benefiting San Clemente Public School Art Programs. Los Gatos Plein Air Dates: June 16-20, 2015 Opening Reception: June 19, 2015 Entry Deadline: February 1, 2015

Legacy of the Land

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CALIFORNIA to COLORADO Sponsoring Organization: Los Gatos Morning Rotary Venue: Los Gatos Town Plaza City: Los Gatos Format: Juried Juror of Awards: Paul Kratter Award Total: $3,100 Contact: Carol Waitte E-mail: Phone: 408.205.8668 Website: The 7th Annual Los Gatos Plein Air Fine Art Exhibit and Sale is an opportunity for plein air artists to demonstrate their artistry in capturing the magnificent scenic views of the Santa Cruz Mountains, vineyards, and Pacific Ocean on canvas. Sponsored by the Los Gatos Morning Rotary Club, this event benefits art and science education for youth. We invite you to register today and enjoy the warm Los Gatos hospitality as hundreds come out to view and to purchase an array of fine art. For more information please visit the website. Frank Bette Plein Air Paint Out Dates: July 27-August 1, 2015 Opening Reception: July 27, 2015 Entry Deadline: April 6, 2015 Sponsoring Organization: Frank Bette Center for the Arts Venue: Alameda City: Alameda Format: Juried Juror(s) of Awards: TBD Award Total: TBD Contact: Genie Scott E-mail: Phone: 510.523.6957 Website: Enjoy our cool foggy mornings and sunny afternoons — perfect summer painting weather! Our San Francisco Bay Island offers a wide variety of subjects to paint; historic Victorian homes and business districts; beaches with San Francisco views; the industrial port of Oakland on the estuary; ships including the Hornet at the Naval Air Station, marinas, and boat yards; bridges; beautiful city and regional parks, all in a very compact space that is easy to get around. Napa Valley Art Festival Date: August 15, 2015 E-mail: Mendocino Open Paint Out Dates: September 14-19, 2015 Opening Reception: September 13, 2015 Sponsoring Organization: Mendocino Art Center Venue: 45200 Little Lake Street City: Mendocino Format: Open Juror(s) of Awards: TBD Award Total: $5,000 Contact: Celia Shelden E-mail: Phone: 707.937.5818 Website: A plein air festival held in a spectacular setting along the Northern California Coast. Artists claim the light is unlike anywhere else in the world. From the rugged surrounding landscape, to the bay and beaches, to the quaint Victorian architecture and water towers of the town, abundant creative inspiration is sure to be found amid the beauty and tranquility of the Mendocino Coast. Enjoy five days of plein air painting, and daily wet

paint sales, demonstrations, and presentations. The festival culminates September 19 with a Quick Draw competition and sale, a celebratory reception, and awards presentation.

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Plein Air at the Lost Coast Dates: September 30-October 4, 2015 Opening Reception: September 30, 2015 Sponsoring Organization: Shelter Cove Arts and Recreation Foundation Venue: Shelter Cove & Southern Humboldt County City: Shelter Cove Format: Open Award Total: $5,000 Contact: Nancy Mitchell E-mail: Phone: 707.986.7120 Website: This will be our 2nd Annual Plein Air at the Lost Coast. If you missed our inaugural, you won’t want to miss this one. Come to Shelter Cove and “Capture the Magic” of majestic mountains standing against wild seas, prehistoric pelicans, migrating whales, and playful sea lions. The community of Shelter Cove welcomes artists to come and enjoy our beautiful coastline and awesome scenery. Hope to see you here! 5th Annual Catalina: The Wild Side Art Show & Sale Date: October TBD 2015 E-mail: 17th Annual Laguna Beach Plein Air Painting Invitational Dates: October TBD Opening Reception: TBD Sponsoring Organization: Laguna Plein Air Painters Association Venue: TBD City: Laguna Beach Format: Invitational Jurors of Awards: Multiple Jurors Award Total: $20,000+ Contact: Rosemary Swimm E-mail: Phone: 949.376.3635 Website: When a group of local artists decided to band together to paint the coastline and canyons of Laguna Beach, none of them could have foreseen how that simple get-together back in 1996 would evolve into one of the most prestigious plein air painting events held around the country. LPAPA celebrates the 17th anniversary of its Annual Invitational event, including a Collectors’ Soiree, substantial cash prizes, and 100+ original works of art for sale.

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COLORADO Plein Air Meeker 2015 Dates: June 18-July 4, 2015 E-mail: Telluride Plein Air Dates: June 29-July 5, 2015 Opening Reception: July 2, 2015 Entry Deadline: January 2, 2015 Sponsoring Organization: Sheridan Arts Foundation Venue: Sheridan Opera House City: Telluride Contact: Ronnie Palamar E-mail: Phone: 970.728.6363, ext. 1 Website: Each year the Sheridan Arts Foundation welcomes 2530 nationally recognized artists to beautiful Telluride, Colorado, for a week-long celebration of outdoor

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COLORADO painting. The event is a benefit for the SAF and this year will feature a quick draw, artist choice reception and gala, and a three-day exhibition and sale. Wild About Colorado Art & Outdoor Festival Dates: July 21-25, 2015 E-mail:

19th Annual

National Juried Exhibition August 2015 Entry deadline mid-April 2015 Visit the PAAC website for complete information. Must be a PAAC member to enter. PAAC is a national organization dedicated to creating year-round painting opportunities for artists. Join PAAC today!

16th Annual

National Juried Exhibition October 2015

2014 Best of Show Award Winner Winter s Complex Pattern 14x20 oil

Entry deadline mid-June 2015 Visit the AIS website for complete information. Must be an AIS member to be eligible to enter. AIS is a 501(c)3 non-


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Plein Air Artists Colorado 19th Annual National Juried Exhibition Dates: July 30-August 30, 2015 Sponsoring Organization: Plein Air Artists Colorado Venue: Mary Williams Fine Art City: Boulder Format: Juried Juror(s) of Awards: TBD Award Total: Over $15,000 in awards Contact: Jennifer Riefenberg E-mail: Phone: 303.470.5770 Website: Plein Air Artists Colorado (PAAC) was created for the love of plein air painting and to enjoy the camaraderie of painting outdoors. With over 250 paint outs per year, PAAC provides myriad opportunities; also offering destination paint outs to places like Taos, NM; Fredericksburg, TX; Crested Butte and Grand Junction, CO; as well as our annual Marathon — painting from sunrise to the sunset. From around the country, members enjoy many benefits including eligibility to enter our Annual National Juried Fine Art Exhibition with over $15,000 in awards. Over 300 days of sunshine — paint with PAAC in unrivaled Colorado! Colorado Plein Air Arts Fest 2015 Dates: Painting is August 1-September 30, 2015 Opening Reception: November 17, 2015 Entry Deadline: October 15, 2015 Sponsoring Organization: Golden Triangle Museum District Venue: Various locations throughout Colorado City: Denver Format: Juried Jurors of Awards: Rose Fredrick, Kimberly Moore, Dean Sobel, Lisa Gedgaudas Award Total: $10,000+ Contact: Christine Serr E-mail: Phone: 720.404.5074 Website: The Colorado Plein Air Arts Festival kicks off its 9th year in 2015, and artists working in all mediums are invited to take part in this year’s festival. Artists will have access to locations across the state from August through September to create works “en plein air” during special events, as well as independently anywhere within the state of Colorado. Following the festival, artists have the option of entering one or more pieces into the CPA’s juried competition under “Professional,” “Emerging,” or “Youth” categories. Accepted works will be exhibited at the Denver Public Library from November 17-December 31, 2015. South Park Plein Air Arts Celebration Dates: September 8-12, 2015 Opening Reception: September 11, 2015 Entry Deadline: August 28, 2015 Sponsoring Organization: Town of Fairplay, Coyote Creek Art Studio Venue: Coyote Creek Studio Arts Gallery City: Fairplay Format: Open Award Total: $3,500+ Contact: Julie Bullock E-mail: Phone: 719.836.2622

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Ca Ar ll t tis o ts

2nd Annual

Lighthouse ArtCenter

Museum, Gallery & School of Art

March 12 - 15, 2015 Paint by the sea in Jupiter and Palm Beach, Florida

$10,000 in prizes!


Morgan Samuel Price Internationally known plein air artist Marisa Pascucci Curator Boca Museum of Art Glen Tomlinson Curator Norton Museum of Art

Visit or call (561) 746-3101 PleinAirMag-FullPageAd2015-2.indd 1 new ULTIMATE DIRECTORY 2015.indd 11

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2nd Annual Plein Air Event in Jupiter, Florida Feb. 7, 2015 This event is open to all registrants on a first-come first-serve basis, limited to 75 total artists. Plein Air Jupiter is a one day juried event beginning with a Welcome Reception and Registration on Friday, February 6, 2015. Artists will “Paint Jupiter” on Saturday, February 7th from 8:30-4:30pm followed by a juried exhibition (Judge is Hugh O’Neill, AIS, OPA) and art sale to collections beginning at 5:30pm. Entry Fee: $45

2 Day Workshop with Hugh O’Neil Feb. 5 & 6 DESIGNED FOR BEGINNERS TO ADVANCED

LEARN AND RECEIVE Painting lessons lasting a lifetime of artistic endeavours Daily painting demonstrations by O’Neill illustrating key points Non stop information and essential learning tools including: 1. Authentic Impressionists and expressionists palette 2. Clear informed thinking Members: $160 3. Passionate expression Non-Members: $180 4. Seeing with a more refined eye 5. Looser flowing brush work 6. Powerful colour mixing Hugh O’Neill is returning from Ireland to teach this exclusive and powerful workshop. His acclaimed style has earned him a worldwide reputation as one of the best en Plein Air painters of all time. This is an outdoors event with Hugh taking participants to exciting and comfortable local coastal locations where he first started and pioneered painting on location 25 years ago. This workshop has limited space so booking early is highly recommended.

Artists Association of Jupiter 226 Center Street #8A Jupiter, Florida 233458 (561) 529-2748 Registration info for both events:!copy-of-call-to-artist/cxbh


Website: This year marks the 6th Annual South Park Plein Air Arts Celebration, a one-of-a-kind plein air adventure in the High Rockies of Colorado. We will feature historic mines and buildings, working ranches and breathtaking vistas while enjoying small-town hospitality in a community with a deep love and appreciation for the arts. We are limiting entries this year to 30 competitive artists per day and our artists tell us this is one of their favorite plein air shows, so don’t miss out on this Rocky Mountain adventure! Alla Prima Westcliffe Dates: September 30-October 3, 2015 E-mail: Steamboat Art Museum Fall Plein Air Paintout Dates: September 19-26, 2015 Opening Reception: September 25, 2015 Entry Deadline: September 1, 2015 Sponsoring Organization: Steamboat Art Museum Venue: Steamboat Art Museum City: Steamboat Springs Format: Open Juror(s) of Awards: TBD Award Total: TBD Contact: Dottie Jones-Zabel E-mail: Phone: 970.870.1755 Website: Steamboat Art Museum will host a week-long paint out during the peak of the Fall Colors. Events include Artists’ Reception, Opening Reception, and Quick Draw and silent auction. Works will hang in the Museum until October 17. For more info and entry form, visit the website. Rims to Ruins Art Sale & Exhibition Dates: November 5, 2014-January 5, 2015 E-mail:

CONNECTICUT D E L AWA R E F L OR I DA Marco Island Wednesday Paint Outs Dates: October 1, 2014-May 27, 2015 E-mail: 2015 Paradise Paint Out Dates: January 12-16, 2015 Opening Reception: January 12, 2015 Sponsoring Organization: Morada Way Arts & Cultural District Venue: Various from Islamorada to Ocean Reef City: Islamorada Format: Invitational Contact: Betsy Keteltas E-mail: Phone: 305.923.8097 Website: Paradise Paint Out is an invitational plein air celebration where 25 artists create a body of work reflecting Islamorada & the Florida Keys “in the open air.” This inaugural week-long event combines the stunning and vibrant colors of island living with talented artists from across the country. Morada Way Arts & Cultural District, presenting organization, exists for the creation of a community inspired by sustainable and thriving arts and cultural offerings. Paradise Paint Out is made possible by Ocean Sotheby’s International Realty, Mercedes Benz of Cutler Bay, Russell Post Sotheby’s International Realty, and the Monroe County Tourist Development Council.

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Artists Association of Jupiter 2nd Annual Plein Air Event Dates: February 5-7, 2015 Opening Reception: February 6, 2015 Entry Deadline: January 25, 2015 Sponsoring Organization: Artists Association of Jupiter/A Unique Art Gallery Venue: 226 Center St., Suite 8 City: Jupiter Format: Juried Juror of Awards: Hugh O’Neill Award Total: Over $2,500 in cash and prizes Contact: Denise LeClair-Robbins E-mail: Phone: 772.579.1500 Website: Delray Beach Plein Air Competition Date: February 26, 2015 E-mail:



en plein air America’s Great Paint-Out

Light Chasers Masters Show, Member Show & Paint Out Dates: February 27-March 1, 2015 E-mail: 2nd Annual Lighthouse ArtCenter Plein Air Festival Dates: March 12-15, 2015 Opening Reception: March 12, 2015 Entry Deadline: February 4, 2015 Sponsoring Organization: Lighthouse ArtCenter Museum Venue: Multiple locations City: Palm Beach and surrounding seaside area Format: Juried Invitational Jurors of Awards: Morgan Samuel Price, Marisa Pascucci, Glenn Tomlinson Award Total: $10,000 Contact: Barbra Broidy E-mail: Phone: 561.746.3101 Website: php?content=event_info&event_id=845 Official end date is March 15, 2015; however, art may remain on display until March 28 as we continue to promote sales of the Plein Air Festival work. 7th Annual Plein Air Key West Dates: March 13-15, 2015 E-mail: Winter Park Paint Out Dates: April 19-25, 2015 Opening Reception: April 20, 2015 Entry Deadline: November 1, 2014 Sponsoring Organization: Albin Polasek Museum & Sculpture Gardens Venue: Albin Polasek Museum & Sculpture Gardens City: Winter Park Format: Juried Contact: Rachel Frisby E-mail: Phone: 407.647.6294 Website: Join us for the 2015 Winter Park Paint Out. If you’re an art lover, a patron, or just curious to see what the buzz is about, stop by the lovely Polasek Museum to see the latest from the 25 artists in action! The museum, sculpture gardens, and gallery will be open FREE to the public throughout this exciting week-long event. Events include FREE painting demonstrations and other activities. Completed paintings will be hung in the gallery’s “Wet Room” for immediate viewing.

Nationally acclaimed artists capture natural beauty, character and local culture in the Plein Air tradition

MAY 1-11


A10-day event featuring on-site viewing of artists at work, a public wet room and opportunities to purchase original works of art.

For more information, visit or call 800-378-8419

Join America’s plein air community this spring on Florida’s Forgotten Coast. Celebrate 10 years of artistic excellence as many of America’s finest plein air artists gather to honor and preserve this last vestige of “Old Florida.” Presented by the Forgotten Coast Cultural Coalition, organizing regional cultural events to benefit local communities.

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April 22-26, 2015 In Atlanta

Central Florida’s premier plein air festival

April 19

through through

April 25 2015 2015

25 acclaimed artists artist demonstrations free museum admission Steve Andrews, Walking Iris Dance

30 of America’s great outdoor painters will compete for $10,000 in prizes and the prestige of winning “The Olmsted”.

Follow us on:

In The Olmsted Linear Park – Ponce de Leon Av – Atlanta Benefiting the Olmsted Linear Park Alliance, a 501(c)3


Forgotten Coast en Plein Air Dates: May 1-11, 2015 Sponsoring Organization: Forgotten Coast Cultural Coalition Venue: Florida’s Forgotten Coast Format: Invitational Contact: Joe Taylor E-mail: Phone: 800.378.8419 Website: Celebrating 10 years of documenting the landscape and culture of this last vestige of authentic “Old Florida,” Forgotten Coast en Plein Air is among the world’s most prestigious plein air events. Focusing on artistic excellence and the production of investment-quality art is the trademark of the 10-day event. The invitational features 21 internationally acclaimed artists, as well as six featured “Florida’s Finest en Plein Air” artists honored as Plein Air Ambassadors, two Plein Air Portrait experts, and the Plein Air Academy’s Master Artists Faculty. Look for expanded exhibits, a Collector’s Forum, distinguished guest speakers, and new opportunities to paint! Diggin’ the Arts Quick Draw Competition Date: May 3, 2015 E-mail: 16th Annual American Impressionist Society National Juried Exhibition Dates: October TBD Entry Deadline: Mid-June 2015 Sponsoring Organization: American Impressionist Society, Inc. Venue: TBD City: TBD Format: Juried Juror(s) of Awards: TBD Award Total: Over $50,000

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Contact: Debra Joy Groesser E-mail: Phone: 772.569.0597 Website: Location and exact dates are to be determined. Please check the AIS website for location, dates, and complete information, which will be posted as soon as available. Entry deadline will be mid-June with the exhibition to be held in October 2015. The American Impressionist Society, Inc. is a 501(c)3 non-profit corporation, dedicated to the promotion and appreciation of American Impressionism through workshops, exhibitions, and other media. Canaveral Seashore Plein Air Paint Out Dates: October 5-10, 2015 E-mail:

Join the world’s leading art collectors.

Bagdad and Milton Plein Air Paint Out Date: October 10, 2015 E-mail: Paint the Beach, A Plein Air Competition Dates: November 2-8, 2015 Opening Reception: November 6, 2015 Entry Deadline: October 30, 2015 Sponsoring Organization: Fort Myers Beach Art Association, Santini Marina Plaza, Fish-Tale Marina, Greater Fort Myers Beach Friends of the Arts Venue: Various locations City: Fort Myers Beach Format: Open Juror(s) of Awards: TBD Award Total: $3,000 Contact: Michele Buelow E-mail: Phone: 239.463.3909 Website: Paint the beautiful beaches and byways of the town for three days during the 6th annual event, culminating in a collectors preview and awards party on Friday. Over $3,000 in cash and prizes awarded to participating artists. Quick Draw and sales tent. Limited to 60 artists. Information available mid-July on our website.

The cure for claustrophobia.

Venice Plein Air (VPA) Paint Outs Dates: 1st & 3rd Saturdays E-mail:

GEORGIA Olmsted Plein Air Dates: April 22-26, 2015 Opening Reception: April 22, 2015 Sponsoring Organization: Olmsted Plein Air Invitational Venue: Atlanta Olmsted Linear Park City: Atlanta Format: Invitational/Juried Jurors of Awards: Steve Doherty, Anne Blair Brown, TBD Award Total: $10,000+ Contact: Lillian Ansley E-mail: Phone: 404.376.7075 Website: Blue Ridge Mountains Fall Plein Air Event Dates: September 10-13, 2015 E-mail: Marietta/Cobb Museum Plein Air Paint Out Dates: September 11-16, 2015 E-mail:

Oliphantsberg (detail), Marc R. Hanson

Bring the outside into your home. 800-610-5771 |

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Experience Maui as captured on canvas by 25 premier artists 3 Paintouts 6 Event Activities 25 Mini-Paintings 25 Kick-Off Paintings 100 Paintings Gala Reception at the Village Galleries, Lahaina Together it totals . . . art in paradise.


George Allan Ken Auster Jacobus Baas Joshua Been Pierre Bouret Mark Brown Carleton Mike Carroll Hiu Lai Chong Michael Clements Betty Hay Freeland Debra Huse Greg LaRock

Ronaldo Macedo Jim McVicker Billyo O’Donnell Macario Pascual Mary Pettis Jenifter Prince Lori Putnam Dave Santillanes David Savellano Randall Sexton Brian Stewart Keith Wicks Ultimate Guide 2015/

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GEORGIA to INDIANA Savannah Plein Air Festival Dates: November 11-14, 2015 E-mail:

H AWA I I 10th Annual Maui Plein Air Painting Invitational Dates: February 14-22, 2015 Opening Reception: February 20, 2015 Sponsoring Organization: West Maui Cultural Council Venue: Maui City: Lahaina/Kapalua Format: Invitational Juror of Awards: Jean Stern Award Total: $1,000 (Plus $4,500 In-Kind) Contact: Lois Reiswig E-mail: Phone: 808.665.1491 Website: The event showcases 25 premier outdoor painters from Hawaii and across the U.S. The week-long event includes a variety of beachfront and historical Maui venues to watch and mingle with professional plein air artists in action. Images captured on canvas during the event will capture the essence of Hawaiian culture, Maui’s plantation history, mountain vistas, beautiful beaches, and, of course, spectacular sunsets. Workshops for plein air enthusiasts will happen before and after the event. Come, enjoy Maui, the artists, embrace art, and return home with the spirit of Aloha.

I DA HO Driggs Digs Plein Air Dates: July 25-August 1, 2015 Sponsoring Organization: Downtown Driggs Community Association Venue: Driggs City Gallery City: Driggs Format: Open Award Total: $8,000 Contact: Julie Robinson E-mail: Phone: 208.313.7715 Website: Join us this summer in Driggs, Idaho, on the west side of Grand Teton National Park, for an exciting and inspiring plein air painting festival. This will be our fourth year! Come to paint or browse the ongoing gallery. Only 32 miles from Jackson Hole, Wyoming, Driggs is the hub of the Yellowstone Teton Scenic Loop drive and one of the top 10 scenic drives in the northern Rockies, with the first-ever GeoTourism Center with interactive exhibits of the area’s unique places, activities, and histories. Wrap your summer vacation around this celebration of plein air painting! Kneeland Gallery 23rd Annual Plein Air Exhibition Dates: August 5-7, 2015 E-mail: Sawtooth Valley Plein Air Paint Out Dates: September 1-4, 2015 Opening Reception: September 4, 2015 Entry Deadline: July 15, 2015 Sponsoring Organization: Plein Air Painters of Idaho Venue: Redfish Lodge City: Stanley Format: Open Award Total: $250 Contact: Karen Jacobsen E-mail:

Phone: 208.412.9444 One of the major events for PAPI is our Sawtooth Valley paint out in the first week in September. This event takes place among mountains, pine trees, cobalt skies, clear lakes and streams. It is the perfect place to paint and enjoy four fun-filled days, which culminate in displaying your art on Friday outside the beautiful Redfish Lake Lodge. The Lake lies a few miles from Stanley and 60 miles from Sun Valley. We look forward to seeing you there with paintbrush in hand, or just to see our PAPI participants capturing the tranquility of the Valley!


CAll For ArTisT enTries

5th AnnuAl PrAirie Plein Air CoMPeTiTion AnD sHoW

ILLINOIS 5th Annual Prairie Plein Air Competition & Show Dates: April 24-May 8, 2015 Opening Reception: May 15, 2015 Entry Deadline: April 10, 2015 Sponsoring Organization: Village of Schaumburg and Prairie Center Arts Foundation in conjunction with Blick Art Materials Venue: Prairie Center for the Arts City: Schaumburg Format: Open Juror of Awards: Ratindra Das Award Total: $600 Contact: Roxane Benvenuti E-mail: Phone: 847.923.3605 Website: The Prairie Center Arts Foundation invites plein air artists to participate in the 2015 Plein Air Competition and Show by creating an original plein air painting or drawing of any location within the Village of Schaumburg, Ilinois. Submitted works will be exhibited at the Prairie Center for the Arts in conjunction with Schaumburg’s Prairie Arts Festival through June 30. This event is open to all plein air artists (artists do not need to be participants in the Prairie Arts Festival to register). Entry fee is $25.

Sponsored by village of schaumburg and Prairie Center Arts Foundation in conjunction with Blick Art Materials SChAumburg, IllInoIS

APril 24 through MAy 8, 2015 Art will be displayed at The Prairie Center for the Arts May 11 through June 30, and will coincide with the 28th AnnuAl PrAirie ArTs FesTivAl.

Cash prizes and no commission on sales. DeADline: APril 10, 2015 PAinT ouT: MAy 2, 2015 Prospectus and registration form: Contact: | 847-923-3605

Art in Nature Date: September 20, 2015 E-mail:

INDIANA 17th Annual First Brush of Spring Paint Out Dates: April 15-18, 2015 Opening Reception: April 15, 2015 Sponsoring Organization: Hoosier Salon and Indiana Plein Air Painters Association (IPAPA) Venue: Hoosier Salon New Harmony Gallery City: New Harmony Format: Open Juror(s) of Awards: TBA Award Total: $7,500 Contact: Maggie Rapp E-mail: Phone: 812.459.9851 Website: This event includes the “Field to Finish” Opening Reception featuring a study from last year’s paint out along with a completed studio painting ($1,000 in prizes awarded), a Quick Draw Competition and Awards Reception, an artist picnic, a public Art Sale (no charge, but pre-registration is required), a children’s plein air mini-workshop, a professional, non-professional, and youth competition and an Awards Ceremony with over $7,500 in cash prizes, including a $2,500 Best of Show Award.

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INDIANA to MARYLAND Dubois County Open Quick Draw and Plein Air Event Dates: July 10-11, 2015 Sponsoring Organization: Jasper Community Arts/Runaway Artists Venue: Jasper Riverwalk and Schaeffer Barn City: Jasper Format: Open Contact: Emily Colucci E-mail: Phone: 812.482.3070 Website: Jasper Arts Department, in partnership with Runaway Artists, is sponsoring a two-day plein air event. A Quick Draw event will be held at the Schaeffer Barn near the beautiful Jasper Riverwalk on Friday, July 10. A wine-tasting and auction will follow. On Saturday, July 11, artists will check in at the beautiful Jasper Riverwalk before scattering throughout the area to paint. An evening gathering will feature a public showing and prizes. Enjoy painting the charms of southern Indiana — hills, rivers, fields, quaint villages, and more. Visit our website or call for more information.

I O WA Fresh Paint Iowa Dates: September 4-6, 2015 E-mail:

First Brush of Spring 17th Annual Paint Out

April 15-18, 2015 Historic New Harmony, Indiana On the banks of the Wabash

Open Registration: Scheduled Events April 15 Field to Finish Exhibit & Awards at the Hoosier Salon Gallery April 16 Quick Draw Competition & Awards Reception April 18 Art Sale (pre-registration required) April 18 Awards Ceremony with $7,500 in awards Art Workshops April 20-23 with C.W. Mundy, Scott Christensen, Carolyn Anderson, Laura Robb, Kenn Backhaus, and Daniel Gerhartz

Contact, Maggie Rapp at Cell (812) 459-9851


KANSAS KENTUCKY LOUISIANA MAINE Katahdin Plein Air Festival Dates: September 24-27, 2015 E-mail:

MARYLAND Paint Snow Hill Dates: April 16-19, 2015 Opening Reception: April 18, 2015 Entry Deadline: March 31, 2015 Sponsoring Organization: Arts on the River Venue: Old Firehouse City: Snow Hill Format: Open Award Total: $500 Contact: Ann Coates E-mail: Phone: 410.632.3555 Website: Snow Hill, Maryland, is a lovely historic town on Maryland’s Eastern Shore that will host the 12th Annual Paint Snow Hill. This, the first plein air event on the Eastern Shore, continues to be very popular with many of the most talented artists from the Mid-Atlantic area. It is a non-juried, non-competitive paint out that gives the artists the flexibility to select locations and subjects. Registration is open to 70 artists. The “Wet Paint” Show and Sale, sponsored by Arts on the River, opens with a ticketed preview on Saturday, April 18, and continues with free admission on Sunday, April 19. Saturdays en Plein Air Dates: April 25-October 31, 2015 E-mail: Mountain Maryland Plein Air Dates: June 2-June 6, 2015 Opening Reception: June 6, 2015

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Entry Deadline: February 15, 2015 Sponsoring Organization: Allegany Arts Council Venue: Saville Gallery City: Cumberland Format: Juried Juror of Awards: Stewart White Award Total: $10,000 Contact: Chris Sloan E-mail: Phone: 301.777.2787 Website: The 7th Annual Mountain Maryland Plein Air offers magnificent mountain vistas, pristine state forests/parks, historic architecture, a variety of industrial settings, and Western Maryland Scenic Railroad. Thirty artists will be selected to participate. Events include Quick Draw, optional demonstrations, Collector’s Reception, and Public Opening. Entry: Three digital images of plein air artwork, photo of yourself, brief bio, through www. (CaFÉ™), entry fee $40. Deadline for application: February 15, 2015; Notification: March 2, 2015. Paint Annapolis Dates: June 8-June 14, 2015 Opening Reception: June 13, 2015 Entry Deadline: February 25, 2015 Sponsoring Organization: Maryland Federation of Art Venue: Circle Gallery City: Annapolis Format: Juried Jurors of Awards: Billyo O’Donnell (Selection Juror)/Awards Juror TBD Award Total: $10,000 Contact: Joann Vaughan E-mail: Phone: 410.268.4566 Website: Annapolis was once the capital of the United States, is home to the U.S. Naval Academy, and hosts Paint Annapolis. Come paint in a historic waterfront town with expansive water views, historic buildings, unique architecture, and pastoral fields. Events include painting throughout the county, nocturne, quick draw, and more. Housing provided. Entry opens December 10, closes February 25. Thirty painters will be selected by Billyo O’Donnell. $10,000 in prize money. Easels in Frederick Dates: June 15-20, 2015 Opening Reception: June 19, 2015 Entry Deadline: January 31, 2015 Sponsoring Organization: Easels in Frederick, Inc. Venue: Talley Center City: Frederick Format: Juried Jurors of Awards: Juror Kathleen Dunphy; judge TBD Award Total: $16,000 Contact: Vicki Glenn E-mail: Phone: 301.514.6263 Website: The 2014 event hosted 30 juried artists from 15 states and Canada. The 2015 competition will again welcome 30 finalists for 4+ days of painting, a Collectors Preview on Friday night, a Quick Draw contest and public exhibit on Saturday afternoon, plus special artist activities all week. Prizes will total $16,000 or more. Easels in Frederick opens the entire county — 664 square miles — to the artists, providing diverse subject matter in settings from rural to suburban to urban. Past artists have stated this is one of the best organized, friendliest paint-outs they’ve attended. Don’t miss this opportunity to show, win, and sell.





A National Juried Plein Air Painting Event


JUNE 15–20, 2015

aint amid centuries of history and rural beauty. Be inspired by rolling fields, historic architecture and colorful streetscapes. And enjoy the welcoming, well-organized experience that past artists say sets this event apart from the rest.


New DVD from Florence Academy of Art Instructor

Daniela Astone

APRIL 16-19 70 ARTISTS “Wet Paint” Show & Sale Preview April 18 from 6-8, $30 admission applies to the purchase of a painting. Show & Sale April 19 from 1-4, no fee. Old Firehouse on Green Street 410.632.3555

Order at Or Call 561.655.8778 Daniela Astone: Creating an Elegant Still Life,™ Streamline Art Video.™ ©/TM Streamline Publishing, Inc. 2014. All rights reserved.

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plein air painting

July 9–13, 2015 Historic Ellicott City, Maryland

Deadline for Entries: April 30, 2015 Prospectus available at Peter Emerson at United States Naval Academy


Selection Juror Billyo O’Donnell

Competition & Exhibition J un e 8 - 1 4, 2 0 1 5

Entry Opens: 12/10/15 Entry Deadline: 2/25/15 Award Total: $10,000

Plein Air Festival

Hosted by:

Maryland Federation of Art

18 State Circle, Annapolis, MD 21146 historic waterfront city nocturne quick draw housing available

An Open Air Painting Extravaganza! September 15-20, 2015 $10,000 Total Cash Awards given in 2014 20

Paint it! Ellicott City Juried Plein Air Paint-Out & Exhibition Dates: July 9-13, 2015 Opening Reception: July 13, 2015 Entry Deadline: April 30, 2015 Sponsoring Organization: Howard County Arts Council and Howard County Tourism & Promotion Venue: Howard County Center for the Arts City: Ellicott City Format: Juried Contact: Beth Forbes E-mail: Phone: 410.313.2787 Website: Quirky architecture, steep hillsides, historic landmarks ... Ellicott City, Maryland, has all that and more! Come capture the old mill town’s unique charms during Paint It! Ellicott City 2015, a threeday plein air paint-out. July 9: Orientation and kick-off. July 1012: Paint-out. July 13: Reception, featuring presentation of juror awards. July 13-August 21: Exhibit of juried artists’ work. Plein Air Easton Dates: July 11-19, 2015 Opening Reception: July 10, 2015 Entry Deadline: March 13, 2015 Sponsoring Organization: Avalon Foundation, Inc. Venue: Throughout Easton City: Easton Format: Juried Juror of Awards: Kip Forbes Award Total: $25,000+ Contact: Jess Rogers E-mail: Phone: 410.822.7297 Website: Plein Air Easton has been a juried competition since its inception, and every year artists who are new to plein air competition have gained entry and national recognition through their participation in this event. Paint alongside some of the best plein air painters in the country. Define the modern plein air movement. Don’t miss the largest, most prestigious outdoor painting competition in the United States. The way to get in is to apply! Artists Paint O.C. — A Plein Air Event Dates: August 7-9, 2015 Opening Reception: August 6, 2015 Sponsoring Organization: The Art League of Ocean City City: Ocean City Format: Open Juror of Awards: Laura Era of Troika Gallery, Easton, Maryland Award Total: $2,325 Contact: Emily Schwab E-mail: Phone: 410.524.9433 Website: Ocean City, Maryland’s 11th Annual Plein Air Event opens Thursday, August 6, with registration, reception, and an Eastern Shore dinner. The event runs through August 9, during the height of Ocean City’s busiest tourist and buying season. Paint Friday and Saturday. Judging and cash prize awards Saturday evening. Wet paint sale Saturday and Sunday, at which point the artists’ chosen piece will remain hung as the featured exhibit for the rest of August at Worcester County’s #1 rated gallery, The Ocean City Center for the Arts. Quick draw contest with awards Sunday morning, August 9. Additional information available at Solomons Plein Air Festival Dates: September 15-20, 2015 Opening Reception: TBD

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CALLING ALL ARTISTS! Plein Air Easton has been a juried competition since its inception and every year artists who are new to plein air competitions have gained entry and national recognition through their participation in this event. Paint alongside the some of the best plein air painters in the country. largest most prestigious outdoor painting competition in the United States. The way to get in is to apply!

July 11-19, 2015

DEADLINE TO APPLY IS MARCH 13, 2015 For the prospectus and to apply online visit

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MARYLAND to NEW YORK Entry Deadline: June TBD Sponsoring Organization: Carmen’s Gallery Venue: Carmen’s Gallery City: Solomons Island Format: Juried Juror(s) of Awards: TBD Award Total: $10,000+ Contact: Carmen Gambrill E-mail: Phone: 410.326.2549 Website: Ask any artist who’s participated in a Solomons Plein Air: This is a great plein air competition! Solomons Island offers the artist such diversity in painting matter. The historic fishing village is now a picturesque mix of work boats, pleasure boats, marinas, old fishermen’s cottages, rural farmland, and quaint architecture with a few shops scattered amongst historic waterfront buildings. Stand in one spot on Solomons Riverwalk and you can paint any of these things and more. But the best part is the hospitality! The artists rave about the events planned for them and the warm reception they receive from the town.

M ASSACHUSET TS Plein-Air Painters of America: Looking East Dates: June 6-August 30, 2015 Opening Reception: June 6, 2015 Sponsoring Organization: Plein-Air Painters of America Venue: Cape Cod Museum of Art City: Dennis Format: Invitational Contact: Susan Hallsten McGarry E-mail: Phone: 505.982.6379 Website: PAPA members “look east” in this museum exhibition of plein air and studio paintings by Signature Members: Kenn Backhaus, Christopher Blossom, John Budicin, Jill Carver, Lorenzo Chavez, John Cosby, Gil Dellinger, Don Demers, Louise DeMore, Kathleen Dunphy, Andy Evansen, Gay Faulkenberry, West Fraser, Gerald Fritzler, Lynn Gertenbach, Raleigh Kinney, Frank LaLumia, Joan M. LaRue, Jean LeGassick, Joseph McGurl, Ned Mueller, Billyo O’Donnell, Joe Paquet, Jean Perry, Ron Rencher, Ray Roberts, Randall Sexton, Jane Shuss, Brian Stewart, George Strickland, Skip Whitcomb, and Honorary Member Clyde Aspevig.

MICHIGAN Glen Arbor Paint Out Weekend Dates: July 31-August 1, 2015 E-mail: Paint Dexter Plein Air Festival Dates: August 17-22, 2015 E-mail:

MINNESOTA Plein Air Art and Music Festival Dates: June 22-27, 2015 E-mail: Plein Air — Aitkin Dates: July 15-18, 2015 E-mail: Plein Air Grand Marais Dates: September 11-18, 2015 E-mail:


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Augusta Plein Air Festival Dates: April 23-May 3, 2015 Opening Reception: April 22, 2015 Sponsoring Organization: Greater Augusta Chamber of Commerce Venue: Augusta Visitor Center City: Augusta Format: Open Award Total: $7,500+ Contact: Kathleen Turner E-mail: Phone: 636.228.4005 Website: Ten days of painting at wineries and local merchants with $500 purchase award each day. The public and artists are invited to special events throughout the festival featuring the local small towns with two private estates with limited space, paint outs at wineries, historic Daniel Boone Home, a day in Defiance, a day in New Melle, a day in Augusta, and a night in Washington, Missouri. Art for sale daily at these events. Final judging, awards for the top four paintings in acrylic, oil, watercolor, pastel, and mixed media; with final sale Sunday, May 3, at Mount Pleasant Estates.

Passport to the Arts Dates: May 8-10, 2015 E-mail:

Brush Creek Art Walk: Plein Air Competition Dates: September 11-13, 2015 E-mail: Golden Hills of Louisiana Missouri Plein Air Date: September 12, 2015 E-mail:

MONTANA Plein Air Glacier — Exploring the Timeless Legacy of Painting the Park Dates: June 17-20, 2015 Opening Reception: June 20, 2015 Entry Deadline: April 4, 2015 Sponsoring Organization: Hockaday Museum of Art Venue: 302 Second Avenue East City: Kalispell Format: Combination Juror of Awards: HMA Standards Committee Contact: Liz Moss E-mail: Phone: 406.755.5268 Website: Plein Air Glacier — Exploring the Timeless Legacy of Painting the Park. Plein Air Paint Out in Glacier National Park — June 17, 18, 19, June 20 reception. Artists spend three days in Glacier National Park. Enjoy painting the Crown of the Continent with spectacular views of mountains, streams, and forest. Exhibit follows paint out, June 25-July 25. See website for complete information.

NEBR ASKA N E VA D A Nevada Northern Railway Annual Plein Air Outdoor Arts Festival Dates: September 5-7, 2015 E-mail:

NEW HAMPSHIRE NEW JERSEY High Bridge Paint Out Date: October 3, 2015 E-mail:

Plein Air Santa Fe 2015 Dates: June 6-12, 2015 Opening Reception: June 12, 2015 Entry Deadline: March 1, 2015 Sponsoring Organization: Plein Air Painters of New Mexico Venue: InArt Gallery City: Santa Fe Format: Juried Juror of Awards: Jill Carver Award Total: Over $10,000 Contact: Alma Rosa Delgado E-mail: Phone: 505.604.1713 Website: Paint in the culturally rich, legendary art mecca of the Southwest. The Santa Fe area offers unparalleled highaltitude light, cobalt blue skies, Neapolitan colored desertscapes, and unique adobe architecture. Be inspired by the landscapes that drew artists Georgia O’Keeffe, Wilson Hurley, and Gustave Baumann to New Mexico. Forty-nine artists will paint for four days. Optional quick draw event will follow. The exhibition at InArt Gallery, located in the world-renowned Canyon Road art corridor, will run for three weeks at the height of summer’s tourist season. Judge Jill Carver will offer a three-day workshop after the event. 3rd Annual Starry Night Plein Air Paint Out Dates: August 22-29, 2015 E-mail:


AUGUST 17-22, 2015

SARANAC LAKE, NY saranaclakear

4th Annual Las Vegas, New Mexico Plein Air Paint Out Dates: October 8-11, 2015 E-mail: Historic Canyon Road Paint & Sculpt Out Dates: October 16-17, 2015 E-mail:

N EW YOR K Finger Lakes Plein Air Festival & Competition Dates: June 10-14, 2015 Opening Reception: June 10, 2015 Entry Deadline: January 30, 2015 Sponsoring Organization: Ontario County Arts Council Venue: Historic Sonnenberg Gardens & Mansion City: Canandaigua Format: Juried Juror of Awards: Nancy Tankersley Award Total: Over $7,000 Contact: Pat Rini Rohrer E-mail: Phone: 585.394.0030 Website: The 4th annual Finger Lakes Plein Air Competition & Festival will run June 10-14, 2015. Up to 45 juried-in artists will paint the beauty of the Finger Lakes and our surrounding rolling countryside full of pastoral farmlands and gardens. The event brings in art lovers and collectors, as well as those who want to participate in the communitycentered events planned for downtown Canandaigua. Final events at the historic site of Sonnenberg Gardens in Canandaigua: Awards presented during Reception Gala/ Preview Exhibit & Sale (ticketed event) on Saturday; Public Exhibit & Sale in Sunday.

Ohio PLEIN AIR Society

12th Annual Plein Air Competition Sponsored by

Ohio PLEIN AIR Society

Alexandria (Licking County), Ohio

September 25-27, 2015 OPEN CLASS Deadine to enter September 15, 2015

OVER $5000 IN PRIZES! Email:

419-606-1620 Please visit the website for current information

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NEW YORK to OREGON close after 50 artists register. New expanded format this year, Monday-Saturday. Separate “Paint the Town” competition and silent auction. Preview reception. Saturday Show & Sale. Further details on the website. 7th Annual Plein Air Paint Out and Art Auction Dates: September 3-5, 2015 E-mail: Adirondack Harvest Plein Air Festival Dates: September 24-27, 2015 E-mail: Seneca Lake Plein Air Painting Festival Dates: September 29-October 4, 2015 E-mail:

NORTH CAROLINA 2nd Annual Plein Air Paint the Town: Historic Downtown Cary Date: May 2, 2015 E-mail: Town of Cary 2nd Annual Plein Air Art Auction & Gala Date: May 29, 2015 E-mail: Cashiers Plein Air Festival Dates: July 10-16, 2015 E-mail:

PleinAir Magazine Publisher Eric Rhoads’ Publisher’s Invitational Paint the Adirondacks Dates: June 14-21, 2015 Sponsoring Organization: PleinAir Magazine Venue: Paul Smith College City: Paul Smith Contact: PleinAir Magazine Phone: 561.655.8778 Website: The Morristown Public Library Plein Air Event Dates: July 30-August 2, 2015 E-mail: Adirondack Plein Air Festival Dates: August 17-22, 2015 Opening Reception: August 21, 2015 Entry Deadline: August 1, 2015 Sponsoring Organization: Saranac Lake ArtWorks Venue: Adirondack Artists Guild Gallery & Town Hall City: Saranac Lake Format: Open Juror(s) of Awards: TBD Award Total: $6,000 Contact: Sandra Hildreth E-mail: Phone: 518.891.1388 Website: Paint in the beautiful Adirondack Mountains of upstate New York, where Hudson River School painters worked. Open registration, but it may


NC Open Plein Air Dates: August 14-15, 2015 Opening Reception: August 15, 2015 Entry Deadline: August 14, 2015 Sponsoring Organization: Varied Venue: Waterworks Visual Arts Center City: Salisbury Format: Open Juror of Awards: John Ebersberger Award Total: $1,750 Contact: Phyllis Steimel E-mail: Phone: 704.637.0874 Website: Piedmont Plein Air Paintout Dates: September 17-20, 2015 E-mail:

NORT H DA KO TA OHIO Art & About in Waterville: A Plein Air Event Dates: June 4-6, 2015 E-mail: 12th Annual Ohio Plein Air Society’s Plein Air Competition Dates: September 25-27, 2015 Entry Deadline: September 15, 2015 Sponsoring Organization: Ohio Plein Air Society Venue: Licking County, OH Format: Open Juror(s) of Awards: TBD Award Total: Over $5,000 total E-mail: Phone: 419.606.1620 Website: Come to beautiful Licking County, Ohio, for the Ohio Plein Air Society’s 12th Annual Plein Air Competition! Licking

County is located in the middle of the state, about 30 minutes from Columbus. There are a wide variety of beautiful sites to paint, including rural farms, historic buildings, forested ravines, and beautiful vistas! This is our 3rd year in Licking County and we have great local support for this event. More details will be posted on our website soon!

OKLAHOMA Plein Air Oklahoma Dates: November 4-7, 2015 E-mail:

OREGON 7th Annual Plein Air & More Dates: June 26-28, 2015 E-mail: Pacific Northwest Plein Air Event Dates: August 3-30, 2015 Opening Reception: August 7, 2015 Sponsoring Organization: Columbia Center for the Arts Venue: 215 Cascade Ave. City: Hood River Format: Juried Contact: Cathleen Rehfeld E-mail: Phone: 541.490.0711 Website: The Columbia River Gorge is a Plein Air Painter’s Paradise. Each year, artists gather to take in the stunning beauty of its black basalt cliffs, ribbon-like waterfalls, and lush fir forests. In November 1986, Congress recognized the unique beauty of the Gorge when it made it the nation’s first National Scenic Area. During our exhibition, plein air painters create works of art, seeking inspiration in the great outdoors. The show begins with a paint-out and culminates in a month-long exhibition during the month of August at the Columbia Center for the Arts in Hood River, Oregon. Thirty-40 artists are selected by committee each year. Create! Eugene 3rd Annual Plein Air Competition, Exhibit & Sale Dates: August 21-23, 2015 Opening Reception: August 21, 2015 Entry Deadline: August 7, 2015 Sponsoring Organization: Arts & Business Alliance of Eugene and Plein Air Painters of Lane County Venue: Lane County City: Eugene Format: Open Award Total: $3,000+ Contact: Karen Rainsong E-mail: Phone: 541.242.2364 Website: Paint in Oregon’s dynamic Eugene, Cascades, and Coast region. From the Pacific Ocean to the crest of the Cascade Mountains, Eugene is surrounded by spectacular landscapes. Set up your easel along the Willamette River that winds through town. Perch on a hilltop vineyard or sit in a glorious rose garden. Unique architecture provides plenty of city scene inspiration too, from sidewalk cafes to the University of Oregon’s historic halls of learning. Meet fellow artists, learn from expert painters, compete in a friendly atmosphere, and showcase and sell your art. Awards breakfast and juror talk completes the perfect plein air weekend!

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P E N N S Y LVA N I A Paint the Town-West Chester Dates: April 28-May 1, 2015 E-mail: Wayne Plein Air Dates: May 12-16, 2015 E-mail: Plein Air Camp Hill Dates: May 27-May 31, 2015 E-mail:



Celebration of Art, Beauty & Culture Dates: March 30-April 3, 2015 Opening Reception: March 30, 2015 Sponsoring Organization: Au Coeur Academy Venue: Isle of Palms City: Charleston Format: Invitational Contact: Sheryll Reichwein E-mail: Phone: 508.221.0064 Website: When we were considering where to hold our book launch, we immediately thought of Charleston, a city devoted to art, beauty, and culture. We’re pleased to return to Charleston for our 2015 event. This time our base will be in Palm Isles, a barrier beach peninsula that offers easy access to beaches, harbors, historic plantations, and Downtown Charleston. And much more.... We hope you’ll join us!


S OU T H DA KOTA Urban Plein Air Date: October 3, 2015 E-mail:

$2500 IN CASH PRIZES TO WINNING ARTISTS Juried ar tists will set up their easels and p aint Frid a y an d S a t urd a y. Co ll e c t o rs are invited to at tend and watch the ar tists as they create their pieces. Ar t will be of fered for sale at the auction on Saturday. Additional pieces w il l be a vail a b l e t h ro u g h o u t t h e weekend in the Paint The Town Galler y.

For an application or more information call 1-877-MF-TEXAS or email I N F O @ M A R B L E FA L L S . O R G



JUNE - AUGUST Plein Air Painters of the Four Corners NM . CO . UT . AZ MUSEUM OF THE


Paint the Town-Marble Falls Dates: April 9-11, 2015 Opening Reception: April 10, 2015 Entry Deadline: March 6, 2015 Sponsoring Organization: Marble Falls Community Arts Program Venue: Old Oak Square City: Marble Falls Format: Juried Juror(s) of Awards: TBA Award Total: $2,500 Contact: Bill Rives E-mail: Phone: 830.639.2815 Website: Join us for the 10th Annual Paint the Town in beautiful Marble Falls, Texas. Nestled beside Lake Marble Falls in the picturesque Texas Hill Country, artists will find an abundance of subject matter from which to draw inspiration. Paint Historic Terrell Dates: April 11-19, 2015 E-mail:

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Plein Air Southwest 2015 Dates: April 11-May 15, 2015 Opening Reception: April 11, 2015 Entry Deadline: January 5, 2015 Sponsoring Organization: Outdoor Painters Society Venue: Southwest Gallery City: Dallas Format: Juried Juror of Awards: Phil Starke Award Total: $15,000+ Cash & Merchandise Contact: Tina Bohlman E-mail: Phone: 972.741.6154 Website: Now in its ninth year, PASW has become one of the premier events of the spring. The Outdoor Painters’ Society sponsors the event to promote an appreciation for the process of painting “en plein air.” PASW is a juried plein air competition, show and sale, and the salon features plein air paintings from many of the best painters working today, and features a quick draw competition. The Outdoor Painters’ Society is a Texas-based group formed to create opportunities and incentives for artists of like mind to come together and paint en plein air. Visit our website to learn more. Plein Air: Big Bend Dates: June 1-August 30, 2015 Opening Reception: June 5, 2015 Sponsoring Organization: Plein Air Painters of the Four Corners Venue: Gallery at Museum of the Big Bend, Sul Ross University City: Alpine Format: Juried Contact: Stephen Unger E-mail: Phone: 505.360.0734 Website: Membership show by Plein Air Painters of the Four Corners of plein air paintings of the Big Bend area of Texas. Paint Rowlett Texas Plein Air Juried Show Dates: September 19-October 31, 2015 E-mail: Kerrville Outdoor Painters Event Dates: September 30-October 3, 2015 Opening Reception: October 3, 2015 Entry Deadline: September 15, 2015 Sponsoring Organization: Kerr Arts & Cultural Center, and others Venue: 228 Earl Garret City: Kerrville Format: Juried Juror(s) of Awards: TBD Award Total: TBD Contact: Debbie Minns E-mail: Phone: 830.895.2911 Website: Painting on location in the Texas Hill Country. Prizes and sponsors yet to be determined — but always generous. Discount on entry fees if entered by July 31, 2015. Please see KACC Blog on for 2014 Plein Air show winners and for more info on 2015 Kerrville Outdoor Painters Event for all other KACC shows. EnPleinAir TEXAS Dates: October 26-November 1, 2015 Opening Reception: October 30, 2015 Entry Deadline: May 15, 2015 Sponsoring Organization: San Angelo Museum of Fine Arts Venue: Fort Concho Quartermaster Building City: San Angelo

Format: Juried/Invitational Juror(s) of Awards: TBA Award Total: $13,000 Contact: Barbara Rallo E-mail: Phone: 325.656.2500 Website: San Angelo is proud to welcome competition artists back to this major plein air festival in Texas. Enjoy our West Texas hospitality in host homes and be inspired at painting sites you could not imagine in your wildest dreams! From the Historic Fort Concho to the International Water Lily Gardens ... exotic ranches and MORE! A week of activities that engages our community, and brings new patrons to our artists — climaxing with the Awards Preview Party and weekend exhibit hosted by our nationally acclaimed museum, the San Angelo Museum of Fine Arts. Come PAINT with us! Brushes by the Beach Plein Air Event Dates: November 7-14, 2015 Entry Deadline: November 14, 2015 Sponsoring Organization: G. Lee Gallery Venue: G. Lee Gallery, 2215 Post Office Street City: Galveston Format: Open Juror(s) of Awards: TBD Award Total: $850 Contact: Brenda Lee E-mail: Phone: 409.370.7350 Website: Looking for warmer weather to paint plein air? This open plein air event gives attendees seven beautiful days to paint Galveston Island. From beach to the bay, beautiful historic neighborhoods, and a working port, Galveston affords artists with a myriad of challenging subjects. Plein air painting by kayak; oil, acrylic and pastel plein air workshops will be offered. Cash prizes for best in show, second and third place.

UTAH Arts to Zion Studio Tour Dates: January 15-19, 2015 Opening Reception: January 15, 2015 Sponsoring Organization: Southern Utah Arts Guild Venue: Washington County, Utah Format: Open Contact: Bobbi Wan-kier E-mail: Phone: 435.216.2651 Website: “Arts to Zion” Art and Studio Tour is a self-guided art adventure through Southern Utah, held MLK Jr. weekend, January 15-19, 2015. This year’s tour includes: “Parade of Home Studios” — Visit more than 50 artists in their workspaces and see what inspires their imagination. “After-Hours” — Watch artists create to live music each evening at select galleries! Silent Auction at the historic St George Courthouse. For more info and tickets ($10), visit! 8th Annual New Vision Art Show Dates: April 2-3, 2015 Opening Reception: All Day

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Art & Studio Tour Visit So. Utahâ&#x20AC;&#x2122;s Finest Artists in their studios & galleries.

Martin Luther King weekend, Jan. 15th-19th, 2015 70+ participating artists, 20+ galleries, Silent Auction, maps &VIP After-Hours events. With Special Thanks to Our Sponsors:

Fiscally Sponsored by:

Purchase Tickets Online ($10) Visit:

November 2 - 8, 2015

Free Daily Demonstrations Paint Out & Sale Public Wet Paint Exhibit & Sale Zion National Park Foundation - 1-800-635-3959


Sponsoring Organization: The Mission Gallery & Authentique Gallery Venue: The Mission Gallery, Ancestor Square City: St. George Format: Invitational Contact: Jane Bell Meyer E-mail: Phone: 435.688.7278 Website: The New Visions Plein Air Art Show is celebrating its 8th year. It comes alive in the spring of St. George Utah. Our 34 artists from Authentique Gallery and The Mission Gallery are all present creating their beautiful pieces amid a fun, congenial atmosphere. They are spread throughout Ancestor Square painting whatever piques their interest from the surrounding red cliffs or historic buildings, all while chatting with eager collectors. The second day includes an animated silent auction of the wet paintings created that day. This is a show that collectors and our artists alike, look forward to throughout the year! Ogden Arts Festival Dates: June 5-13, 2015 E-mail: Where In The World Is Plein Air 2015 Dates: June 10-12, 2015 Opening Reception: July 2, 2015 Entry Deadline: October 2014 Sponsoring Organization: Illume Gallery of Fine Art Venue: Illume Gallery of Fine Art City: Salt Lake City Format: Juried Contact: Jane Bell Meyer E-mail:

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Phone: 801.201.2853 Website: ‘Where in the World Is Plein Air 2015” is in its second year. This cutting-edge online show takes you “virtually” to over 100 juried artists as they paint in locations across the world. During this three-day show, you watch artists as they paint plein air. Oceans, deserts, mountains, cityscapes; Europe, North America, and Australia come to life. Throughout the process, videos from each stage of a piece’s creation are made available for collectors to watch online ... purchases may be made at any point through the website. Experience the completed pieces — July 2-31, 2015, Illume Gallery of Fine Art. Wasatch Plein Air Paradise Dates: June 27-July 5, 2015 E-mail:

Escalante Canyons ART FESTIVAL * Everett Ruess Days *

Millions of Acres of Inspiration: Escalante is located in the heart of Grand Staircase-Escalante National Monument between Bryce Canyon and Capitol Reef National Parks.

Utah Plein Air Dates: August TBD E-mail: Spring City Arts Plein Air Painting Competition Dates: September 2-5, 2015 Opening Reception: September 4, 2015 Entry Deadline: September 2, 2015 Sponsoring Organization: Spring City Arts Venue: Spring City Arts Gallery on Main Street City: Spring City Format: Combination Award Total: $3,000 in cash and more than $15,000 in purchase awards Contact: Chris Anderson E-mail: Phone: 801.598.5864 Website: This will be the ninth annual plein air painting competition, set in Spring City, a bucolic rural town in Central Utah, a designated historic district and the best-preserved example of the Mormon Pioneer Village. Spring City has been designated by Forbes Magazine as one of the prettiest small towns in America. Come see why. Enjoy up to three days of plein air painting, to be followed by a Friday-evening reception and a Saturday exhibition and sale. A tour of local artist studios will also be held. Check our website and Facebook page for details. Escalante Canyons Art Festival — Everett Ruess Days Dates: September 18-27, 2015 Sponsoring Organization: Envision Escalante Venue: Escalante City Center City: Escalante Format: Open Contact: Allysia Angus E-mail: Phone: 433.826.5615 Website: http:/// Make your plans now to attend the premier art event of the Colorado Plateau! Events include a plein air painting competition, demonstrations, workshops, an arts and crafts sale, speaker series, exhibits, and live music. Plein air competition runs September 18 to 24 and paint-out competition is scheduled for September 23. Escalante is located along Scenic Byway 12, Utah’s only All-American Road, surrounded by Grand StaircaseEscalante National Monument, Bryce Canyon and Capitol Reef National Parks, Glen Canyon National Recreational Area and Dixie National Forest. Plein Air Moab 2015 Dates: October 2-10, 2015 Sponsoring Organization: City of Moab Venue: Moab Arts & Recreation Center City: Moab

SEPTEMBER 18-27, 2015 $8,000 in Prizes - Open to Artists of All Levels

Plein Air Competition Sept 18-24

Paint Out Sept 23

Art Sale & Auction Sept 25-26

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UTAH to WISCONSIN Format: Open Juror(s) of Awards: TBD Award Total: Over $6,000 Contact: Laurie Collins E-mail: Phone: 435.686.2454 or 435.259.6272 Website: PleinAir Moab celebrates open air painting in breathtaking environments. The area has breathtaking views of red rock, river, desert, and mountainous environments and takes place during the height of fall leaf change. The colorful, week-long gathering of artists and art lovers in Moab, Utah, culminates in artist competitions & awards, public art sales, and fun with friends. Most events are free. Plein Air Moab attracts amateur and professional artists from all over the U.S. The eight-day festival begins with a one-day painting workshop and offers artists two quick-draw opportunities through the week. Artists may sell their work in a three-day art sale and/or enter their art into the Main Competition. First place prizes in three categories are $1,350 each.

But wait, there’s more ... Known for our dramatic sunsets over water, our outstanding diverse scenery, and for being one of the top three plein air festivals in the United States, when it comes to the Door County Plein Air Festival, there’s always more. Here you’ll find more access to the featured artists. More unique events. More community ownership. More fun due to our Midwestern hospitality - just ask our artists. In our ninth year, we’ll be hosting 40 plein air masters from across the country and points beyond. Why don’t you join us July 19-25, 2015? There’s always room for one more. Jason Sacran, 2014 Gamblin Best of Show

Zion National Park Plein Air Art Invitational Dates: November 2-8, 2015 Opening Reception: November 6, 2015 Entry Deadline: February 14, 2015 Sponsoring Organization: Zion National Park Foundation Venue: Zion National Park City: Springdale Format: Invitational Contact: Jill Burt E-mail: Phone: 435.772.3264 Website: Zion National Park Foundation hosts the 7th Annual Zion National Park Plein Air Art invitational, November 2-8, 2015. The event celebrates the role art played in the creation and history of Zion by hosting 24 fine landscape artists for a week of painting and teaching in the park. Invited artists paint plein air throughout the week as park visitors watch and interact. Daily demonstrations and lectures, as well as a paint-out and auction on Saturday, cap the week of celebration. More than 150 paintings go on sale at the Zion Nature Center Saturday through Sunday. For details go to

VERMONT VIRGINIA Falls Church 7th Annual Plein Air Festival Dates: April 16-June 21, 2015 E-mail: Art Guild of Clifton Plein Air Festival Dates: May 15-17, 2015 E-mail: Plein Air Richmond Dates: June 21-28, 2015 E-mail: Bath County Plein Air Festival Dates: September 28-October 4, 2015 E-mail:

WA S H I N G T O N Mark Boedges, Sartori Artists’ Choice/ Guerilla Painter Third Place Presented by Peninsula School of Art, Door County, WI 920.868.3455


Painting Tulips Dates: April 20-October 22, 2015 E-mail: Paint Out Winslow Dates: August 15-16, 2015 E-mail:

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Snoqualmie Plein Air Paint-Out Date: August 15, 2015 E-mail: Paint the Peninsula Dates: September 6-13, 2015 Opening Reception: September 6, 2015 Entry Deadline: April 30, 2015 Sponsoring Organization: Port Angeles Fine Arts Center Venue: Olympic Peninsula City: Port Angeles Format: Juried Award Total: $4,000+ Contact: Anne Dalton E-mail: Phone: 360.457.7782 Website: From sailboats to harbors to vintage working farms, from rainforest waterfalls to villages and cityscapes, the varied and beautiful locations of the Olympic Peninsula in Washington State have it all to paint. Now in its third year, artists and collectors alike rave about the ultimate Pacific Northwest experience. Paint the Peninsula is at the entrance to Olympic National Park, giving artists access to amazing opportunities from the sea to the mountains. Prospectus and more information available online.


September 6th - 13th 2015 PROSPECTUS available on-line January 1st, 2015

WISCONSIN GoPaint! aka Fresh Paint! Dates: May 17-23, 2015 E-mail: 9th Annual Edge of the Rock Plein Air Dates: June 3-12, 2015 E-mail: Cedarburg Plein Air Painting Event Dates: June 17-June 28, 2015 E-mail: Door County Plein Air Festival Dates: July 19-25, 2015 Opening Reception: July 24, 2015 Entry Deadline: August 15, 2014 Sponsoring Organization: Peninsula School of Art Venue: 3900 County Road F, Fish Creek, Door County City: Fish Creek Format: Invitational: Award Total: $12,000 Contact: Kay McKinley E-mail: Phone: 920.868.3455 Website: Join us for our ninth annual Door County Plein air Festival, located among the diverse, natural beauty and quaint harbor towns of the Door Peninsula. Forty plein air masters from throughout the US and points beyond participate in the largest plein air festival in the Midwest which is also rated as one of the top three in the country. Paint the Point Dates: August 5-8, 2015 Entry Deadline: July 5, 2015 Sponsoring Organization: Arts Mineral Point Venue: Sponsoring Galleries City: Mineral Point Format: Open Jurors of Awards: Committee of four jurors Award Total: $4,500 Contact: Ried Knapp E-mail: Phone: 608.284.5927 Website:


Eric Jacobsen


401 Second Street • Hudson, Wisconsin 715/381-2906 •

Olympic Peninsula Washington State

Mineral Point is a historic mining town settled by Cornish miners in the 1830s. It is nestled in the scenic driftless region of southwestern Wisconsin, 35 miles NE of Dubuque, Iowa and 45 miles SW of Madison. A historic district filled with limestone Greek revival buildings, is surrounded by rolling pastures and woodlands, affording endless artistic opportunity. Plein Air Hudson Dates: August 14-16, 2015 Opening Reception: August 17, 2015 Sponsoring Organization: SEASONS on St. Croix Gallery Venue: 401 Second Street City: Hudson Format: Invitational Juror(s) of Awards: TBD Award Total: $800 Contact: Ruth Misenko E-mail: Phone: 715.381.2906 Website: The year 2015 will mark our second annual Plein Air Hudson. Our charming community is nestled along the lovely St. Croix Rover, a National Scenic Waterway that is just 20 minutes east of downtown St. Paul. The vistas overlooking the river, the parks, the architecture, the water, and the boats all create lovely images for artist to ponder and interpret. Our goal for 2015 is to have 20 plein air painters participating in the event. The Opening Receptions/ Awards Ceremonies were well attended in 2014 with Purchase Awards adding to the excitement.

Plein Air Competition August 5–8, 2015 Mineral Point, Wisconsin

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WISCONSIN to INTERNATIONAL Plein Air Between the Bluffs Dates: September 12-26, 2015 E-mail:

Feb. 26 thru March 7, 2015 International Plein Air Festival

Register TODAY! Plein Air Curaçao invites you to paint and enjoy beautiful Curaçao during this international plein air festival. visit for more information and to register for this event

Paint the Town En Plein Air in Plymouth, WI Dates: September 24-30, 2015 E-mail:

Province: Prince Edward Island Montague Plein Air Festival Dates: June 26-July 1, 2015 E-mail:



National Museum of Wildlife Art Plein Air Fest Date: June 20, 2015 Entry Deadline: February 15, 2015 Sponsoring Organization: National Museum of Wildlife Art Venue: Museum Sculpture Trail City: Jackson Format: Combination Jurors of Awards: Museum Representatives Award Total: Value of full ad, recognition and sale of art Contact: Becky Kimmel E-mail: Phone: 307.732.5424 Website: Plein Air Quick Draw 9 a.m. – 1 p.m.; Plein Air Magazine Best of Show Award Announced at 1:15 p.m.; Silent Auction – 1:15 – 2 p.m. Over 50 artists creating new works with just four hours to complete their masterpieces “en plein air.” Browse and bid on the fresh artworks! Artworks sold by “silent bid.” We want to encourage cycling to the event, so the first 200 cyclists will receive a free drink ticket, or you can ride the START Bus’s free shuttle directly to the Museum. Enjoy live music by PTO and food for purchase from the Rising Sage Café while interacting with artists.

Country: Curacao Plein Air Curacao Dates: February 26-March 7, 2015 Opening Reception: March 3, 2015 Entry Deadline: January 26, 2015 Sponsoring Organization: Art Foundation Curacao Venue: Curacao City: Curacao Format: Combination Contact: Hellen Chirino E-mail: Phone: 202.241.8958 Website: Plein Air Curacao is a one-of-a-kind international festival on Curacao, the unique Dutch Caribbean island on the UNESCO World Heritage List. Artists paint plein air, plein aerial, and plein eau. Diver-artists come from all over the world to paint together underwater in the crystal clear sea. There’s moonlight painting, Sunset Cruise, picnic paint-outs, workshops, and a competition. With no participation fees, slashed hotel prices, and host family stays, you too can enjoy this wonderful, happy Caribbean getaway in the height of winter. Visit, our FB page, and YouTube for more info or call. Bon Bini!

4th Annual Plein Air for the Park Dates: July 15-19, 2015 E-mail:


Plein air lovers love the PleinAir Apron. ™

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Dates: May 28-31, 2015 E-mail:

Province: British Columbia Gibsons Landing PAINT OUT 2015 Dates: September 11-13, 2015 Opening Reception: September 11, 2015 Entry Deadline: August 31, 2015 Sponsoring Organization: Poynter Studio & Town of Gibsons Venue: Arts Building 464 S. Fletcher Gibsons BC City: Gibsons Landing Format: Open Juror of Awards: People’s Choice & Artist’s Choice Award Total: $1,000 Contact: Jan Poynter E-mail: Phone: 604.886.8918 Website: A 40 minute ferry from Vancouver, British Columbia. Enjoy the best scenery in the Northwest from Gibsons Landing wharf, seawalk, and seaside village. Coastal mountains are a dramatic backdrop to rugged islands, vintage boats and working harbor. Heritage buildings, colorful florals and views throughout this friendly, walkable town. Three days of painting in various locations, artist demos, displays and social gatherings for participating artists. Poynter Studio and Town of Gibsons host a welcome BBQ, studio hub & activities for painters. Art enthusiasts can visit the daily wet-paint display and final exhibition with quick draw, people’s choice, and sponsored awards. IPAP worldwide PaintOut listing. Province: Ontario Belleville Plein Air Festival

Country: Wexford, Ireland Art in the Open 2015 Plein Air Painting Festival Dates: July 26-August 4, 2015 E-mail: Country: Worldwide 13th International Plein Air Worldwide Paint Out Dates: September 11-13, 2015 E-mail: Country: Norfolk, United Kingdom A Brush with the Broads Dates: September 24-28, 2015 E-mail: Country: Bermuda Bermuda Plein Air Festival Dates: October 10-17, 2015 Opening Reception: October 10, 2015 Entry Deadline: September 21, 2015 Sponsoring Organization: Bermuda Tourism Authority and others Venue: Bermuda-wide City: Hamilton Format: Open Juror(s) of Awards: TBD Award Total: $15,000 Contact: Heidi Cowen E-mail: Phone: 441.234.2809 Website: Come and enjoy plein air painting on an island that is tailormade for it — the island that inspired Wyeth, O’Keefe, and Pleisner; which Mark Twain famously considered preferable to heaven; and where John Lennon composed his album Double Jeopardy.

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ALABAMA Alabama Plein Air Artists E-mail:

ARIZONA Plein Air Painters of Sedona and the Verde Valley E-mail: Tucson Pastel Society E-mail:

ARKANSAS Plein Air Painters of Eureka Springs E-mail: Plein Air Painters of Searcy E-mail: White River Artists E-mail:

CALIFORNIA California Plein Air Painters E-mail: Carmel Visual Arts E-mail: Central Coast Plein Air Painters E-mail: Desert Art Center of the Coachella Valley E-mail: Laguna Plein Air Painters Association E-mail:

Plein Air Washington


Marin Open Studios Plein Air Art Group (MOSPAG) E-mail: Mendocino Art Center E-mail: Monday Morning Painters E-mail:

Jane Wallis, Sol Duc Cascades, 8 x10 oil on canvas

F ac ilita tin g p a in t-o u ts an d o rg an izin g ju rie d e x h ib itio n s in Was h in g to n S ta te s in ce 2 0 0 0 M e mb ers h ip o p en to a ll.


Monterey Bay Plein Air Painters Association Contact: Murray Wagnon E-mail: Phone: 408.440.9762 Website: Monterey Bay Plein Air Painters Association, MBPAPA, promotes plein air painting depicting the region around Monterey Bay. An important part of our mission is to provide our members with opportunities to grow creatively and professionally. Membership in MBPAPA distinguishes local plein air artists as dedicated regional artists. MBPAPA was founded in 2005 by plein air artists from the Carmel area. Striving to capture timeless scenes transformed by fleeting qualities of atmosphere and light, we both celebrate and expand the rich heritage of California impressionists and post-impressionists who have been drawn to the Monterey region since the 1870s. Nevada County Plein Air Painters E-mail: North Tahoe Arts E-mail:

PAC6 Painters E-mail: Plein Air Artists of Riverside E-mail: Plein Air Artists of the Central Coast E-mail: Sacramento Plein Air Painters - Meetup Group E-mail: Sacramento Sketchers E-mail: San Clemente Art Association E-mail: San Luis Outdoor Painters for the Environment (SLOPE) E-mail: Sierra Pastel Society E-mail: Studio 7 Gallery Plein Air Painters E-mail: Tahoe Art League Plein Air Painters E-mail:

COLORADO Cultural Arts Council of Estes Park E-mail: Pikes Peak Plein Air Painters E-mail: Plein Air Artists Colorado E-mail: Plein Air Painters of Estes Park E-mail: Sangres Art Guild E-mail: Sheridan Arts Foundation: E-mail:

CONNECTICUT D E L AWA R E DISTRICT OF COLUMBIA F L OR I DA American Impressionist Society, Inc. E-mail: Artists Association of Jupiter E-mail: Emerald Coast Plein Air Painters E-mail: Forgotten Coast Cultural Coalition E-mail: Fort Myers Beach Art Association E-mail:

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Key West Art Center E-mail:

The Artistâ&#x20AC;&#x2122;s Road E-mail:

Light Chasers E-mail:


Morada Way Arts & Cultural District E-mail: Mount Dora Plein Air Painters E-mail: Naples Art Association, The E-mail: Plein Air Colony of Pinellas (The PAC) E-mail: Plein Air Painters of Coconut Creek E-mail:

En Plein Air Painters of Kentucky Watercolor Society E-mail:

An extraordinary run of the mill.

Plein Air Artists of Central Kentucky E-mail:

LOUISIANA MAINE Castine Arts Association E-mail: Katahdin Plein Air Painters E-mail:


Plein Air Painters of Pensacola E-mail:

Academy Art Museum E-mail:

Plein Air Palm Beach E-mail:

Allegany Arts Council E-mail:

Tarpon Springs Art Association E-mail:

Art League of Ocean City E-mail:

Venice Plein Air (VPA) E-mail:

Easels in Frederick, Inc. E-mail:

want to grab the nearest artist

Visual Arts Center Plein Air Artists E-mail:

Howard County Arts Council E-mail:

and tell them about it. But, an


Maryland Federation of Art E-mail:

Blue Ridge Mountains Arts Association E-mail:

H AWA I I Meetup Plein Aire Painting, Kauai E-mail: Plein Air Painters of Hawaii E-mail:

I DA HO Idaho Plein Air Painters E-mail:

Mid-Atlantic Plein Air Painters Association E-mail: Plein Air Painters of the Chesapeake Bay E-mail: Plein Air Painters of the Eastern Shore E-mail:

M ASSACHUSET TS Au Coeur Academy E-mail:


Etruscan Places E-mail:

Indiana Plein Air Painters Association E-mail:


Jasper Community Arts E-mail:

I O WA Iowa Plein Air Painters E-mail:

KANSAS Missouri Valley Impressionists Society E-mail:

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Ottawa Shores Plein Air E-mail: Plein Air Artists of West Michigan E-mail: Plein Air Rockford E-mail:

MINNESOTA Grand Marais Art Colony E-mail:

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MISSISSIPPI Plein Air South America E-mail:

MISSOURI National Oil & Acrylic Painters’ Society (NOAPS) E-mail: Springfield Plein Air E-mail:

MONTANA Hockaday Museum of Art E-mail:

NEBR ASKA N E VA D A Reno Tahoe Plein Air Painters E-mail:

NEW HAMPSHIRE NHPleinAir Artists E-mail:

NEW JERSEY Plein Air Painters of the Jersey Coast E-mail:

NEW MEXICO Plein Air Painters of New Mexico E-mail: Plein Air Painters of the Four Corners E-mail: Plein-Air Painters of America Contact: Susan Hallsten McGarry E-mail: Phone: 505.982.6379 Website: PAPA, founded in 1986, comprises professional artists renowned for plein-air and studio paintings. Ken Auster, Kenn Backhaus, Christopher Blossom, John Budicin, Jill Carver, Lorenzo Chavez, John Cosby, Gil Dellinger, Don Demers, Louise DeMore, Kathleen Dunphy, Andy Evansen, Gay Faulkenberry, West Fraser, Gerald Fritzler, Lynn Gertenbach, Raleigh Kinney, Frank LaLumia, Joan M. LaRue, Jean LeGassick, Robert Lemler, Michael Lynch, Joseph McGurl, Joseph Mendez, Ned Mueller, Billyo O’Donnell, Ralph Oberg, Joe Paquet, Jean Perry, Ron Rencher, Ray Roberts, Randall Sexton, Jane Shuss, Matt Smith, Kate Starling, Brian Stewart, George Strickland, Linda Tippetts, Skip Whitcomb. HONORARY MEMBERS: Clyde Aspevig, John Stobart.

N EW YOR K Lower Hudson Valley Plein Air Painters E-mail: Niagara Frontier Plein Air Painters E-mail: Ontario County Arts Council E-mail:


PALS Plein Air E-mail: Plein Air Adirondack E-mail: Plein Air Painters of Thousand Islands Region E-mail: Saranac Lake ArtWorks E-mail:

NORTH CAROLINA Fellowship of Plein Air Painters E-mail: Outer Banks Outdoor Painters Society E-mail: PAINT North Carolina E-mail: Piedmont Outdoor Painting Society E-mail: Plein Air Painters of the Southeast (PAP-SE) E-mail: Triad Outdoor Painters E-mail:

NORT H DA KO TA OHIO Cuyahoga Valley Art Center E-mail: Ohio Pastel Artists League E-mail: Ohio Plein Air Society E-mail: Waterville Area Arts Council E-mail:

OKLAHOMA Arts Council of Tahlequah E-mail:

OREGON Columbia Center for the Arts E-mail: Plein Air Painters of Lane County E-mail: Plein Air Painters of Southern Oregon E-mail:

P E N N S Y LVA N I A Glar-Art Studio Plein Air Painting Group E-mail: Plein Air Painters of Central PA E-mail: Wayne Art Center E-mail:

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Port Angeles Fine Art Center E-mail:

Appalachian Pastel Society E-mail:


Midlands Outdoor Painting Society (MOPS) E-mail:

Arts Mineral Point E-mail:


Cedarburg Artists Guild E-mail:

Chestnut Group, The E-mail:

Friends of Riverfront E-mail:

Plein Air Memphis E-mail:

Peninsula School of Art E-mail:


Water’s Edge Artists E-mail:

EnPleinAirTEXAS E-mail: Kerr Arts & Cultural Center E-mail: Outdoor Painters Society E-mail: South Texas Plein Air E-mail:


Wisconsin Plein Air Painters Association (WIPAPA) E-mail:

W YOMI NG National Museum of Wildlife Art E-mail: Rocky Mountain Plein Air Painters E-mail:

Envision Escalante/Escalante Canyons Art Festival E-mail:

Teton Plein Air Painters E-mail:

Midway Art Association E-mail:

C A NA DA Province : British Columbia

Spring City Arts E-mail: Zion National Park Foundation E-mail:

VERMONT VIRGINIA Art Guild of Clifton E-mail: Ridge and Valley Plein Air Painters E-mail:

WA S H I N G T O N Peninsula Art League E-mail: Plein Air Washington Artists Spring/Fall Paint Outs Contact: Jane Wallis E-mail: Phone: 360.697.6607 Website: Plein Air Washington Artists’ mission statement is, “To promote plein air painting in the state of Washington by providing painting, learning and showing opportunities.”

Plein Air BC E-mail:

Province : Ontario Windsor & Essex County Plein Air Society E-mail:

Province : New Brunswick Plein Air Painters of the Bay of Fundy E-mail:

INTER NATIONA L Country: Ireland Plein Eire, Ireland Plein Air Network E-mail:

Country: Mexico South of the Border Plein Air (S.O.B. Mx) E-mail:

C o u n t r y : Wo r l d w i d e International Plein Air Painters Worldwide E-mail:




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OerLva S s e 5ak0e yourarre still

CALIFORNIA Strada Easel Contact: Bryan Taylor E-mail: Phone: 801.390.0826 Website: We are a small company of artists and product designers located in the San Francisco Bay area who are passionate about plein air art, artists, and equipment. We understand that artists have discerning tastes and specific needs when painting on location or in the studio, and we wanted to make an easel that looked as good as it functioned. The Strada Easel product design is the result of years of research and development and marks a new generation in plein air equipment



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CONNECTICUT Hartford Fine Art Contact: Bill Plage E-mail: Phone: 860.528.1409 Website: At Hartford Fine Art, helping artists market their remarkable work is our most important job. Since proper presentation is one of the primary factors in selling fine art, we’ve created a line of painting frames in standard sizes and grouped in unique collections that will provide the perfect finishing touch. Finishes range from hand-rubbed gold and silver metal leaf to antique black with gold metal lips.

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N EW YOR K Golden Artist Colors, Inc. Contact: Jodi O’Dell E-mail: Phone: 607.847.6154 Website: Golden Artist Colors manufactures professional art materials for painting in acrylics, oils, and watercolor. With two locations totaling 150,000 square feet, its 155 employees are committed to producing materials that encourage exploration, while assuring archival integrity. GOLDEN Acrylics are known for quality, archival integrity – the most innovative, extensive system available. Its Williamsburg Oil Colors are known for quality and an extensive palette of colors, including genuine Italian and French earth colors. QoR®, a modern watercolor, provides more pigment in every brushstroke, as well as color strength, range, and versatility unmatched in watercolor history. Go to, or

UTAH SimpleArtSite Contact: Rafael Montserrat E-mail: Phone: 530.580.8528 Website: Beautiful, effective, affordable custom websites for artists and galleries.

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See the Art of the Rhine Valley from Amsterdam to Basel, on a Behind-the-Scenes Cruise with the Editor and Publisher of Fine Art Connoisseur Magazine.

October 26-November 2, 2015 Join Us for a Special Pre-Trip Excursion Beginning October 22.

We’ve pulled out all the stops for our sixth annual art cruise as we board AMA Waterways’ newly remodeled ship the AmaCerto, the ultimate in luxury. Our art cruise takes you to special places not available to others on the ship — behind the scenes in the art world throughout Holland and Germany, creating lifetime memories and giving you access others will never see. Join Editor-inChief Peter Trippi and Publisher B. Eric Rhoads for this sixth-anniversary celebration event. It’s an art lover’s paradise, beginning with our special pre-cruise excursion, where we get a look behind hard-to-open art doors in Amsterdam. But don’t wait: 50 percent of last year’s travelers have already signed up for 2015.

Each of our previous cruises has sold out early. Cabins are limited, so book today. AMSTERDAM (öăþòÿĊ









• Pre-Cruise Excursion

October 22-25 The Art of Amsterdam • Rhine Cruise October 26 Sail from Amsterdam October 27 Wijk bij Duurstede

October 28 Cologne/Koblenz October 29 Koblenz/Rüdesheim October 30 Speyer/Heidelberg October 31 Strasbourg/Kehl November 1 Kehl/Breisach November 2 Basel/Disembark




Presented by

To learn more, visit or contact Gabriel Haigazian of the CTP Group at • 818.444.2700 Ultimate Guide 2015/

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Come out for five days to a place you could paint forever.

APRIL 13 –17, 2015


And if you’ve been here before, you still have a lot of catching up to do. Everybody knows the Monterey Peninsula is beautiful. To painters, the topography, the centuries-old architecture — heck, the very air here has no peer! As an artist, you must come here. And, for ironclad reasons, April 13-17, 2015 (during the 4th Annual Plein Air Convention & Expo) is the time to do it. Reason #1: A place like this must be experienced with other artists — preferably about 700 of them, whom you know will share your appreciation. Reason #2: When this much talent gathers in one place, every— yes, that new knowledge will pay dividends down the road. In the meantime, when you bring your best work out here with you, it will sit all week before adoring collectors at our Insiders Art Show & Sale. So, even if you’ve done it before, you’ve got to do it.

Special Pre-Convention 1 1/2 Day Workshop with C.W. Mundy



Expo Hall Open 8:30 AM-6 PM (open to public) Registration in Expo Hall Art Show & Sale Pre-convention workshop with C.W. Mundy*

*fee required





Expo Hall Open 8 AM-6 PM Art Show & Sale Pre-convention events – Basics Course* Plein air symposiums Completion of Sunday workshop Convention events – 4 PM Opening and keynote Artist demonstration Cocktail reception

Expo Hall Open 6:30 AM-4 PM Art Show & Sale Marketing Boot Camp IV Opening remarks Artist demonstrations Afternoon painting 4-6 PM

Expo Hall Open 6:30 AM-4 PM Art Show & Sale Marketing Boot Camp IV Artist demonstrations Afternoon painting 4-6 PM

Expo Hall Open 6:30 AM-1 PM Art Show & Sale Marketing Boot Camp IV Artist demonstrations (indoor sessions end 2 PM) Afternoon painting 2-6 PM

FRIDAY, APRIL 17 All-day painting. No indoor sessions.

The Insiders Art Show & Sale is an opportunity to own paintings by your favorites and sell your own. Collectors and the public will enjoy free access to the show, April 12-16. Special advance registration is required to be part of the show and sale.

Marketing Boot Camp IV Marketing Boot Camps, artists from around the world learned to plan and reach their goals as artists, to create their brands, use social media to expose their work and sell online, and to automate the marketing process. Now learn to take all these to break away as a full-time artist.



2015 Convention Faculty Peter Adams demo artist

Carolyn Anderson demo artist

Michele de Bragança demo artist

Frank Eber demo artist

Beverly Ford Evans

Glen Knowles speaker

T. Allen Lawson demo artist

Richard Lindenberg

Jesse Powell

Camille Przewodek demo artist

Robin Purcell demo artist

Full-Time Tracks for Oil, Water Media, and Pastel Artists Our faculty is full of top artists in all three of the most popular painting media, including Carolyn Anderson, George Carlson, Len Chmiel, watercolorist Jean Haines, pastel artist Albert Handell, Quang Ho, T. Allen Lawson, and many others. Watch their demonstrations, talk

Kim Casebeer demo artist

Len Chmiel demo artist

Bill Cone speaker

Quang Ho demo artist

Charlie Hunter

Debra Huse

Jim McVicker

Clark Mitchell

Elizabeth Mowry demo artist

Bill Davidson demo artist

Every Level from Beginner to Expert This may sound like a big event, and it is, kind of. But it is one put together to cater to artists of all levels, air painter (we get many) or a professional. We’re one giant family, and we’re lots of fun. Basics Course). We’re here for you. So come and meet new friends from all over the world.

Daily Painting with Instructors Following each day’s sessions, we’ll gather in some of the area’s most beautiful locations as a group, to paint with people you’ve seen onstage and with field painters who will be there to offer tips and demonstrate the nuances of plein air painting.


Clive Tyler demo artist

George Van Hook demo artist

Stewart White demo artist

Shelby Keefe

C.W. Mundy workshop

Dawn Whitelaw demo artist

Eric Wiegardt demo artist

Rick Wilson


Rodrigo Zaniboni demo artist


Enter the 4th Annual PleinAir™ Salon Competition at






Win the grand prize and see your painting on the July 2015 cover of PleinAir™magazine. Current bi-monthly contest will be judged by

Joseph McGurl

Designated a Living Master by the Art Renewal Center in New York and a recipient of the Boston Artists Gold Medallion, among other awards.

Compete in Any of 16 Categories 1. 1st Place Overall 7. NEW — Best Overall Acrylic 2. 2nd Place Overall 8. Best Plein Air Work 3. 3rd Place Overall 9. Best Building 4. NEW — Best Overall Oil 10. Best Figure in a Landscape 11. Best Floral 5. NEW — Best Overall Pastel 6. NEW — Best Overall Watercolor

12. Best Landscape 13. Best Outdoor Still Life 14. Best Nocturne 15. Best Water 16. NEW — Best Under-30

Left: 3rd Annual PleinAir Salon winner Stewart White and past Salon winners Shelby Keefe and Eleinne Basa at the Plein Air Convention & Expo



 

Caroline Benedicks Bruce (1833-1927)

Caroline Benedicks Sketching in the Fontainbleau Forest

c.1885, photograph. Courtesy Brucebo Foundation, Gotland, Sweden


he wealthy Swedish artist Caroline Benedicks met the Canadian artist William Blair Bruce in June 1885, became engaged to him within four months, and married him in Stockholm in 1888. That union didn’t hamper her ability to continue an active career fabricating sculptures as well as drawing and painting outdoors. In this photograph from around 1885, she is intently focused on a landscape scene and is using a stick or charcoal or pastel to record her response. After her husband died, Benedicks Bruce agreed to

give a large collection of his work to the City of Hamilton, Ontario, Canada, with the understanding that a gallery would be established in which to exhibit that work. The Art Gallery of Hamilton was indeed founded and Bruce’s paintings were presented there in an inaugural exhibition in 1914. A centennial exhibition of Bruce’s artwork recently concluded in the gallery. A catalog for that exhibition has been published by D. Giles Ltd in association with the Art Gallery of Hamilton, Ontario, Canada (

Portrait of William Blair Bruce

Caroline Benedicks Bruce 1893, bronze, 14 1/4 x 9 1/2 x 7 1/4 in. Courtesy the Brucebo Foundation. Gotland, Sweden / December-January 2015

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special section


Painting Directly From Nature

This month, our special report is on the primary editorial focus of the magazine: plein air painting. We offer descriptions of varied approaches to outdoor painting to suggest how artists can individualize their selection of materials and techniques. This survey includes paintings that have recently been selected as semi-final winners in the bimonthly PleinAir Salon competition (

Marc Dalessio: Two Ideas With Historic Precedents One of the most significant aspects of Marc Dalessio’s ( procedures outdoors is using the sight-size method for drawing and laying in the big shapes of a landscape composition. The method, historically important in portraiture, involves making decisions about scale, placement, and detail from a measured distance away from the painting surface. That is, Dalessio marks a spot about 10 feet away from his easel and stands there to evaluate how to make the next mark on his canvas. The intended result is that the painting and the subject will appear to be exactly the same size from the marked location. The process involves walking back and forth from the canvas to the marked position each time the artist needs to draw a line or block in a painted shape. “I’m not a slave to sight-size,” Dalessio says, “but I depend on the procedure at the beginning of the painting process when I am establishing the scale, perspective, and essential relationships between the major shapes within the landscape.” Another technique the artist learned while studying with Charles Cecil is to scrape down the oil paint applied the previous day when he goes back to the same location to continue developing a plein air painting. “I start by establishing the big shapes,” he explains, “using large brushes and a lot of paint. When I go back to the same site the next day I scrape off the paint to create a stained indication of the subject. That yields effects one can’t get by just applying thick paint each day. It softens edges and keeps the shadows thin and transparent. It’s a powerful way to develop portraits, and I find the likeness gets stronger after I scrape off

the impasto layers of oil color, because the process reveals an average of all the shapes the painter found during the session.” Dalessio used this scraping technique recently while painting a 35 x 43-inch portrait of his wife sitting under an olive tree and reading a book. The American artist, who lives with his wife in Croatia, has won several PleinAir Salon awards.

Marc Dalessio paints his wife posing under an olive tree.

Tina Under an Olive Tree By Marc Dalessio 2013, oil, 43 x 35 in. Collection the artist Plein air


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Joshua LaRock painting the Château de la Napoule

Thomas Kegler & Joshua LaRock: Following Classical Approaches These two New York artists teach at the Grand Central Academy and were recently invited to enjoy a residency at the Château de la Napoule in France, where they employed different approaches to outdoor painting. LaRock says, “I used paints diluted with turpentine and a small amount of retouch varnish to hasten the drying time so I could block in the drawing and light effect of the landscape. If the conditions were similar on subsequent days, I went back to the same locations and painted with thicker oil colors to extend the value range. I find that working on a dry underpainting allows me to obtain more detail and a greater variety of textures than when I work alla prima.”

Thomas Kegler’s easel and vertical palette

In contrast, Kegler completed 20 small field studies during his residency in France and planned to refine them in his studio and then use them as studies for larger and more complex paintings. “I had to adjust the way I normally work on location because I only had five days to paint in France,” he says. “When I’m not under that kind of time pressure, I might return to the same location over two or three days as Josh did, but I thought my best approach on my first trip to France would be to bring a large group of paintings to partial completion and then use my memory of the scene and environment to finish them.” Kegler also points out that for the past year he has been using panels he makes by adhering

linen canvas to sheets of Dibond aluminum so the finished paintings are not vulnerable to changes in humidity and temperature. “I prefer to carry the Dibond panels out into the field because they won’t get bent, dented, or broken when I’m transporting them in my backpack or luggage, but the weight of 20 small panels is much greater than foamcore-backed panels,” Kegler says. “I wanted to keep the weight of my luggage as low as possible, so in France I also worked on some RayMar double-primed linen panels backed with foamcore.” For more information, visit www.joshua and / December-January 2015

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in, the pattern of shapes and values, and the center of interest. Once I have fixed the image in my mind, I quickly draw the outline of the major shapes with charcoal on the white canvas or board. The charcoal will blend into the first washes of oil color.” After DeWaard establishes a composition and places the major shapes, he masses in the shadow pattern, which will remain unchanged even as the light moves across the landscape. “After that pattern is fixed, I can slow down and not worry about the changes that occur in the scene,” he says. “I can then give myself time to step back from the easel by about eight to 10 feet and consider how the image is coming together. I might also squint as I look at the scene from that distance, so I see only the color and value relationships, not the details.” For more information, visit www.kendewaard. com. DeWaard will be one of the 30 artists invited to participate in the Olmsted Plein Air Invitational taking place in Atlanta, Georgia, from April 22-26, 2015 ( La Strada Vicino La Cheisa By Ken DeWaard 2014, oil, 9 x 12 in. Collection the artist Plein air

Ken DeWaard: ‘It all comes back to design’ “It has taken me over 23 years of plein air painting to realize the importance of good design,” says Wisconsin artist Ken DeWaard ( “That means planning the composition of shapes and values, but it also means not being obligated to paint exactly what I see. As much as I pull from a scene, I do not want to be a slave to it. I feed off of nature and could never completely make up a scene, but to show nature in the best possible way, I have to simplify and enhance the overall appearance of what first grabbed me. If I remember that, then I can totally enjoy painting outdoors and all the changes that take place.” For DeWaard, arriving at a good design means really looking at a potential painting subject and evaluating how he will respond. And then it means looking through a ViewCatcher to consider how he will place the image on a canvas. “Without it I would be lost,” he says. “It helps me isolate the scene to consider the lines that move 28

La Vecchia By Ken Dewaard 2014, oil, 18 x 24 in. Collection the artist Studio

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Brenda Boylan’s underpainting of complementary red and orange pastels

painting. She carries her pastels and prepared boards in a modified 12 x 16-inch Open Box M pochade box, along with Turpenoid or denatured alcohol, barrier cream, a cheap foam brush, sketch book, and a few other standard painting supplies. The total weight of her set-up is about 15 pounds. Boylan uses a number of brands of buttery, soft pastels, including those made by Unison, Sennelier, and Terry Ludwig, as well as some hand-rolled pastels she creates with the leftover chips that fall into a studio tray. “I seldom use hard pastels because they don’t have the innate ability to layer softly, but I use them to lay in an initial sketch,” she says. “It’s important to me that the underlying drawing be accurate, and I like having the ability to make changes using the softer pastels.” For more information, visit www.brenda

Brenda Boylan: Efficient Pastel Painting When Oregon artist Brenda Boylan heads outdoors with a well-considered set of pastel painting supplies, she starts to work by developing a bright underpainting and then gradually adds veils of color over that base to create visual richness and luminosity in her paintings. She achieves a colorful dimension in her pastel landscapes through an intentional play of complementary or analogous colors beneath the surface of the finished piece. Additionally, she considers the temperature of the colors she uses, such as the juxtaposition of a cool blue with a warm blue, to realize the kind of interplay that adds interest and sparkle to her work. Boylan dry-mounts a sheet of white Wallis pastel paper to museum board (her favorite size is 11 x 14 inches, but she has worked on sheets as large as 12 x 26 inches). She then covers the Wallis paper with a protective sheet of glassine paper taped to the back of the mounted paper to safeguard the pastel once she has finished Boylan’s completed pastel painting: West Vineyard View / December-January 2015

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The palette of colors he uses to capture both the physical and spiritual aspects of plein air consists of a warm and cool of the primaries (ultramarine blue, alizarin crimson, cadmium yellow light, yellow ochre, cadmium This Colorado artist, a winner of two PleinAir Salon awards in the August/September, orange, cadmium red, viridian, cobalt blue, titanium white, and a few convenience colors 2014, bimonthly competition, reveals the prilike transparent red oxide and Rembrandt orities that guide him while painting outdoors. cold gray). “In terms of composition, I’m always striving Santillanes’ preferred painting surface is for greater simplicity,” Santillanes explains. a relatively slick one he makes by sizing MDF “There are many opportunities to simplify a scene without compromising its sense of ‘place.’ panels with an acid-free glue (Lineco) to create a barrier between the acidic glues used to bind I seek out the big abstract shapes in the landthe wood fibers and the oil paint, and then scape and use them for the underlying design priming the surface of the fabric with BIN, a concept. In composing my ‘diary,’ I’m free to shellac-based household primer and sealer. His rearrange elements to fit the concept I have established. In this way I am able to describe the brushes are primarily synthetic hair, and he doesn’t use any medium other than Turpenoid scene in my own visual language. for thinning the initial layers of paint and “There’s no better way to get to know a cleaning his brushes. place on earth than to sit for a couple of hours For more information, visit and contemplate it while painting,” the artist says. “This intense observation brings a spiritual intimacy with the scene that can’t be achieved in mere passing and allows me to ‘speak’ with M. STEPHEN DOHERTY is editor-in-chief of Pleincomplete sincerity in each painting.” Air Magazine.

Dave Santillanes: Capturing the Spirit of a Place


The Softness of Winter By Dave Santillanes 2014, oil, 18 x 36 in. Private collection. Courtesy Abend Gallery, Denver, CO. Studio painting developed from plein air sketches

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artist profile


Speaking Through Our Paintings This widely respected and influential Minnesota artist paints in response to his passionate feelings about both personal and community issues. Through his painting, teaching, and lecturing, he encourages all of us to pursue our passions and maintain high professional standards. By M. Stephen Doherty


veryone in the audience at the 2013 Plein Air Convention & Expo was prompted to look deeply within to confront their “authentic selves.” The speaker was Joseph Paquet, a master artist and teacher, a member of the Plein-Air Painters of America, and the recipient of many awards and accolades. His purpose was to challenge attendees, and the greater art community, to create artwork that is an honest reflection of their individuality. Moreover, he

wanted to encourage painters to remain students of art and committed to learning. Paquet certainly practices what he preaches: He is constantly reexamining his materials and techniques as well as the subjects he paints on location and in his studio. After graduating from the School of Visual Arts in New York and studying with John Philip Osborne at the Ridgewood Art Institute (RAI) in New Jersey, Paquet used a prismatic palette of carefully

premixed colors. He also started his plein air paintings by establishing a grisaille underpainting made from combinations of Cremnitz white, cobalt blue, and ivory black. The prismatic palette was taught by several legendary instructors at the Art Students League of New York. Although there are variations on the idea, essentially it promotes the benefits of using a full range of premixed colors laid out in strings that progress from full-strength pigments to lighter tints and color combinations. Arthur Maynard (1920-1991) taught this method at the RAI, and Osborne, who was his protégé, continues to share the method with students and faculty members at “The Barn,” as the school is often called. There are now a number of variations of the method being used in studios and art schools across the country, Rural Electrification 2011, oil, 24 x 30 in. Private collection Plein air

ARTIST DATA NAME: Joseph Paquet BIRTHDATE: 1962 LOCATION: St. Paul, MN INFLUENCES: “Michelangelo, Corot, Levitan, Hopper, Bellows, Clyde Aspevig, John Phillip Osborne, Marc Dalessio, T. Allen Lawson, Don Demers, Joseph McGurl, Randall Sexton, Daniel Sprick, John Cosby, Matt Smith, and Jeff Weaver.” WEBSITE: / December-January 2015

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God Made California on a Monday 2012, oil, 22 x 28 in. Private collection Plein air

including the Joseph Paquet Studio in St. Paul, Minnesota. One key aspect of this method is that it helps artists make accurate evaluations of the relationships between colors and values. “I still teach students how this analysis can help them make accurate judgments about the relationships they observe in nature,” says Paquet, “but it’s a tool to understanding their observations, not a formula that substitutes for looking at and understanding what occurs in nature. I no longer follow the system as faithfully as I did as a student, but then no professional artist should cling to the lessons they learned in art school. We all need to grow and adapt the lessons of our teachers.”

of the painters are tonalists who modulate values in beautiful ways but don’t rely heavily on color to “Now, when I am outdoors painting, I am pri- carry the paintings. In fact, when I was first invited marily focused on color relationships,” says the art- to paint with members of the Plein-Air Painters of America, I was terrified because the California ist. “In 1996, when I began traveling and painting with some of the top plein air painters in the coun- landscape and the work being done by the PAPA artists was totally unfamiliar to me. I kept staring at try, my eyes were opened to a greater potential for color. I was educated on the East Coast, where most the ocean and saying, ‘It really is that blue.’

‘It Really Is That Blue’

5:30 AM Schmidt Brewery 2012, oil, 30 x 40 in. Private collection Plein air


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Morning on the Mississippi, St. Paul 2013, oil, 28 x 40 in. Private collection Plein air

“The landscape was electrified with color, and I needed different ways of understanding and responding to what I saw. Moreover, the way people like Kevin Macpherson and Ken Auster handled paint seemed chaotic compared to my approach, but I watched them carve out masterful paintings from all the thick swirls of oil color on their canvases.” Paquet goes on, “I now use the understandings I gained from my teachers, students, and fellow artists to deal differently with the Classic Saint Paul 2010, oil, 8 x 12 in. Private collection Plein air / December-January 2015

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artist profile

Summer Morning, Gloucester 2014, oil, 8 x 12 in. Private collection Plein air

The palette of colors Paquet employs includes Cremnitz white, cadmium yellow light, cadmium yellow medium, cadmium orange, cadmium scarlet, cadmium red, permanent alizarin, manganese blue, cobalt blue, ultramarine blue, and ivory black. He tones his panels with a wash of raw umber mixed with a small amount of Cremnitz white. That wash acts as a stain that knocks down the brightness of the white surface.


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In recent years Paquet has also been focusing on subjects that represent changing America, and the impact those changes have had on people’s lives. He explains, “John Cosby and I started out on a quest to capture the remnants of the great industrial generation we grew issues of value, drawing, and color. The key up with that has seen the loss of the American elements in my work have more to do with middle class. We had little idea what we were integration, unity, and variety. I go directly to nature because that is the only way to get answers in for — not only the scope of the project, but about achieving unity and variety. Almost all my the scale of the loss. Literally miles of empty factories and mills, as well as the once-proud paintings are started outside, even if they might neighborhoods that encircled them. be finished in the studio. I say with pride that I “‘I can’t believe it’s all gone’ was a continual remain a good student of nature, and hopefully refrain. We have spent an extended amount of I’ve become more sensitive to her subtle beauty time painting in the Pennsylvania towns of Bethand order over the course of my career.” Crossroads at Bubbling Springs 2014, oil, 24 x 30 in. Collection the artist Plein air

lehem, Allentown, Erie, Lackawanna, and Easton, and we have also documented decaying sites in Duluth, Minnesota; Superior, Wisconsin; Buffalo and Troy, New York; and Ashtabula, Ohio.”

Rust & Roadsides “This project is our collective American story,” Paquet says. “It is our hope that through this project we call Rust & Roadsides (www., we may shed both light and remembrance on something lost — with the sincere wish that a renewed spirit and resilience may reinvigorate the possibility for new, indigenous industries and the opportunity for fuller lives for the average American.” / December-January 2015

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artist profile

White Tanks, Blue Day 2013, oil, 30 x 40 in. Private collection Plein air in Landscape award from the Richeson 75: Artist’s Choice Competition. He is a Signature Member of the Plein-Air Painters of America and the Salmagundi Club, and an Out-of-State Artist Member of the California Art Club. Paquet has taught aspiring artists for almost 20 years but now limits his teaching because of other demands on his time and talent. One of his students, Bob Upton, was featured in the cover story of the November 2014 issue of PleinAir, and several other former students have received similar national recognition. M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine. See more of Joseph Paquet’s paintings, as well as a brief video on his work, in the expanded digital edition of PleinAir.

As intriguing and as socially relevant as this project could be, the paintings included in the series may not be as commercially viable as other work the two artists have created. Even though Cosby and Paquet have created the paintings out of respect for the urban scenes, and although they have found beauty in neglected buildings, it is unlikely that collectors will respond to the Rust & Roadsides paintings in the same way they would to paintings of dramatic waterfalls, charming villages, favorite landmarks, glowing sunsets, or nostalgic farmlands. Knowing that the images will need a different kind of presentation than a group of conventionally beautiful outdoor paintings, the two artists are aiming to mount a major exhibition with a museum or art center. “We haven’t exhibited or sold any of the paintings in the collection,” says Paquet. “We want people to see them all together, with information about how each of the structures changed from being places of labor and pride to rusty ghosts.”

with John Philip Osborne at the Ridgewood Art Institute in New Jersey. His work has been featured in the Washington Post Sunday magazine, Artist’s Magazine, American Artist magazine, and the July 2005 issue of PleinAir. His recent awards include both Artists’ Choice and Collectors’ Choice from the 2007 Laguna Beach Plein Air Invitational, the 2008 Alden Bryan Memorial Prize from the Salmagundi Club of New York, and the First Place

Brooklyn With Barrel 2013, oil, 28 x 40 in. Private collection Plein air

JOSEPH PAQUET earned a Bachelor of Fine Arts at the School of Visual Arts in New York, where he was mentored by John Foote, and then he studied


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Expanded Digital Edition Content

artist profile

A Gentile Indifference 2014, oil, 24 x 30 in. Collection the artist Plein air


Aggregate Yard in White Light 2012, oil, 28 x 40 in. Collection the artist Plein air / December-January 2015

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Expanded Digital Edition Content

artist profile

Brutal 2014, oil, 24 x 30 in. Private collection Plein air

Furrows & Fractions 2014, oil, 24 x 30 in. Collection the artist Plein air December-January 2015 /

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When Exhibits of Plein Air Paintings Became Acceptable

Théodore Rousseau was reluctant to sell his plein air paintings because they might distract attention from his studio work. Eventually, he was persuaded to market those oil paintings as “privileged and exceptional insights into the workings of the artist’s mind,” according to the catalogue for a major exhibition of landscapes by the Barbizon School artist.

Study for the Forest in Winter at Sunset ca. 1846, oil over charcoal with white heightening on paper, mounted to canvas Private collection All photographs courtesy the Morgan Library & Museum, New York, NY.


t is assumed that until the 20th century, artists seldom exhibited or sold their plein air paintings because those sketches were merely studies for more important studio pictures. After all, reputations were made with studio portraits, still lifes, and figure compositions, not on quick studies created directly from nature. That attitude began to change in the middle of the 19th century, as groups of artists in Europe and the United States displayed their studies as independent works of art and sold those on-the-spot paintings to an emerging body of middle class collectors interested in nature imagery and landscapes. One of those artists, Théodore Rousseau (1812-1867), reluctantly put his drawings and oil sketches up for sale through a Paris gallery, starting in the 1830s. He agreed to sell them only because he needed money, but in time he recognized the benefits of regularly exhibiting his outdoor paintings. / December-January 2015

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Cottage in Arbonne ca. 1860-1865, pen and brown ink and watercolor on paper. Private collection

Mont Saint-Michel 1832, oil on paper, mounted on canvas. Private collection


Many of Rousseau’s plein air oil sketches and drawings were recently exhibited at the Morgan Library & Museum in New York (The Untamed Landscape: Theodore Rousseau and the Path to Barbizon, September 25-November 9, 2014). The exhibition included 70 works from private and public collections. It traced Rousseau’s path to becoming a leader of the French plein air artists, from his early oil sketches in the Ile-de-France, Auvergne, and Normandy, to his mature works in the Forest of Fontainebleau. Collectively, this selection chronicled Rousseau’s artistic practice and highlights his contribution to the shifting conception of landscape in the wake of the Industrial Revolution. The show explored a range of techniques and handling of media, as well as the sense of poetic melancholy that permeates Rousseau’s art. Press material from the Morgan Library & Museum points out that Rousseau, along with Camille Corot (1796-1875) and JeanFrançois Millet (1814-1875), ranks as one of the preeminent masters of the Barbizon School, a group of 19th-century French artists whose preferred subject was the primeval wooded landscape of the forest of Fontainebleau. The Barbizon School painters were greatly influenced by the Romantic movement, producing works inspired by the powerful forces of nature. Surprisingly, despite his pivotal role in French art and his profound impact on the development of landscape painting, Rousseau has never before been the subject of a monographic exhibition in the United States. The catalog for this museum exhibition includes a study by art historian Simon Kelly of Rousseau’s sales activity titled An Artist Focused on His Research: Théodore Rousseau and the Marketing of His Oil Sketches and Drawings. In the opening paragraph of the essay, Kelly says that “recent research has highlighted the extent to which Rousseau was an urban sophisticate who knew the workings of the art market well and was astute in the promotion of his art.” It took a sustained effort to convince Rousseau to become “astute in the promotion” of his outdoor drawings and paintings because he was initially focused on gaining recognition for his studio paintings in the Paris Salon, the most important venue for artwork. As a measure of his singular focus, Rousseau was furious when several of his sketches were included in an exhibition without his permission. “I am not happy that they have put sketches in the

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Panoramic View with a Bridge Over the Seine, near Paris ca. 1830–33 Oil on paper, mounted on canvas Private collection

Grotto Under the Cliffs, Near Port-en-Bessin 1831, oil on paper, mounted on canvas. Private collection

La Mare aux Fées ca. 1848-50, pen and brown ink and wash on paper Private collection / December-January 2015

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“Rousseau ... was astute in the promotion of his art.”

Waterfall in Thiers 1830, oil on paper, mounted on canvas Private collection

Street in a Norman Town With Fragments of Gothic Buildings 1831-1832, black chalk on laid paper Private collection

exhibition,” the artist wrote. “I’m very cautious when it comes to this subject as regards the public and this has come to me from experience.” That experience included a scathing review by Clément de Ris of an 1848 exhibition that included Rousseau’s sketches, which, in de Ris’s opinion, “should remain in the studio.” Rousseau and many other 19th-century artists did sell their plein air work privately in their studios and through dealers who were particularly interested in plein air work. But the sketches were not heavily promoted until two young dealers, Hector Brame and Paul Durand-Ruel, began touting Rousseau’s sketches as products of private study that provided a rare window into an artist’s creative process. Despite


the encouragement of Brame and Durand-Ruel, Rousseau was still reluctant to exhibit his plein air sketches. However, he needed the money and agreed to the dealers’ marketing plan. In time, Rousseau came to realize that his sketches could be “crucial to his commercial project and to his public identity as an artist closely engaged with nature,” according to Kelly. “By the end of his career, they were at the heart of his commercial enterprise. Disclosing the elements of his artistic process was not necessarily a negative thing — something to be hidden — but instead something to be promoted and celebrated.... By the end of his career, he had come to realize that his sketches not only offered significant financial gains but were also central

to his broader aim of presenting himself as a thoughtful and meditative artist who, in his own words, was ‘focused on his research and [sought] to devote himself to it.’” The exhibition at the Morgan Library & Museum was made possible through the generosity of Karen B. Cohen, with additional support from the Estate of Alex Gordon and Mr. and Mrs. Clement C. Moore II. The catalogue was underwritten by the Franklin Jasper Walls Lecture Fund. For more information or to purchase a copy of the catalogue, visit M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine.

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Markings of a Time & Place Californian Lissa Nicolaus uses contrasting shadows, layers of color, and interlocking forms to capture moments in time.


any of the subjects Lissa Nicolaus paints are within easy driving distance of her home in Marin County, California. She can turn in one direction and be in the mountains, follow another path and be along the San Rafael Bay, or drive in yet another direction and set up her easel near vineyards. The paintings that result from any of these excursions around Marin County ultimately become visual diaries of the artist’s experiences at particular places and certain moments in time. There is a directness about her method of painting outdoors that conveys a sense of a personal diary. Nicolaus achieves that directness by the way she composes her paintings and handles paint. To begin with, she assesses potential subjects by looking at them through a viewfinder or her two thumbs and forefingers held up to form a rectangle in front of her eyes. She considers both the widest possible view of the scene or the most intimate focus, always considering how the shapes and values might be arranged in a pleasing design. Her process is also influenced by the degree to which scenes connect to her life experiences and her strongest preferences. “Part of what influences my choice of subject is whether or not it relates to my lifelong love of waterfronts, beaches, woodlands, and mountains,” the artist explains. “The other strong influence is how a location connects to my daily experiences. That is, my choice of location has everything to do with my emotional response and sense of familiarity.” Once a location speaks to Nicolaus, she makes quick sketches of the key landmarks and shapes using a black marker to make lines and value shapes on sheets of paper held in a binder. Her objective is to determine the best way to arrange the compositional elements within a rectangular painting. “I do a free sketch of the scene so I can consider how the composition of the scene might work,” she says. “The process helps me become familiar with the location and the atmospheric conditions, plus it gives me a chance to write notes about the sights, sounds, and weather conditions on that particular day. “The evaluations I make during this planning stage are mostly instinctive rather than formal and intellectual. I do keep in mind some of the basic principles of design, but ultimately my decisions are based on what feels right.” All this advance preparation helps Nicolaus handle paint with confidence and direction. She normally works on canvases and panels toned with a wash of a terra cotta color made by com-

Sauvignon Blanc 2012, oil, 20 x 16 in. Private collection Plein air

Lissa Nicolaus / December-January 2015

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Hopland Barn 2012, oil, 20 x 16 in. Collection the artist Plein air

Bird’s Eye View 2012, oil, 9 x 12 in. Private collection Plein air

ARTIST DATA NAME: Lissa Nicolaus BIRTHDATE: 1943 LOCATION: Ross, CA INFLUENCES: “Claude Monet, Pierre Bonnard, Winslow Homer, Gregory Kondos, The Society of Six, and Wayne Thiebaud.” WEBSITE:


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Early Morning Light 2014, oil, 11 x 14 in. Collection the artist Plein air

bining acrylic titanium white and acrylic red iron oxide. Then, switching to oil colors, she draws the major shapes and lines of her subject using yellow ochre. “I try not to get too detailed at this early stage,” she says, “so I use a large brush and concentrate on the general layout. Then I brush on a wash of some dark colors within the shapes defined by the ochre. Immediately, the lighter areas stand out and I can see the interplay between shapes and values that I can adjust. “It’s important to develop the shapes first and then engage in that interplay, or the pushpull. I add paint and take it away. In doing that, I carve out the more distinct shapes and transition to slightly thicker paint.” Nicolaus goes on, “Sometimes, working spontaneously with a brush will cause surprises. I try to take advantage of those unexpected color effects and hold off adding any details until I feel the bigger shapes have been fully realized. At that point, the details become icing

on the cake, when they are small, defining spots. Ultimately, I need to determine when to stop and say, ‘Well, I think this painting is done!’ “My ideal day is one in which I am completely free to load my car with an easel and paints and drive off to spend the entire day painting outside in an exciting spot. When I can do that, finding a subject that stops me in my tracks is one of the exciting and challenging parts of the process. My goal is to create landscape paintings that are fresh and freely express my impressions of the world around me. The satisfaction that comes from having captured a scene that moved me is enormous, and when others are moved by my paintings, the enterprise is that much better!”

as Rome, Italy. She studied art and art history at the University of California, Berkeley, and worked at the San Francisco Museum of Art. After getting married and raising two children, she resumed her study of art at the Academy of Art University and the San Francisco Art Institute, and she participated in workshops with Pam Glover. She is a founding member of BayWood Artists, participates in the Marin Open Studios, and paints with artist friends in the San Francisco Bay area. M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine. See more paintings by Lissa Nicolaus in the expanded digital edition of PleinAir.

LISSA NICOLAUS grew up in a large family and lived in a number of cities where her father held teaching positions, including the states of California, Colorado, and New Hampshire, as well / December-January 2015

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A display of some of the Moleskine watercolor notebooks Kullaf used in 2013

Light in the Vineyard 2011, oil, 14 x 11 in. Private collection Plein air December-January 2015 /

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Path to the Shore 2001, oil, 24 x 20 in. Private collection Plein air / December-January 2015

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White Barn 2010, oil, 8 x 10 in. Private collection Plein air

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Stinson Dunes 2000, oil, 18 x 36 in. Private collection Plein air

Ovando 2010, oil, 9 x 9 in. Collection the artist Studio / December-January 2015

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Dunes 2000, oil, 18 x 24 in. Private collection Plein air

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Hefty Cow 2012, oil, 8 x 10 in. Private collection Studio

View From the Beach 2014, oil, 24 x 36 in. Collection the artist Studio / December-January 2015

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Par for the Course 2004, oil, 12 x 10 in. Private collection Studio December-January 2015 /

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Afternoon Walk in the Vineyard 2000, oil, 12 x 16 in. Private collection Plein air / December-January 2015

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Dad Fishing 2000, oil, 9 x 12 in. Private collection Studio

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Country Road 2000, MEDIUM?, 16 x 12 in. Private collection Studio / December-January 2015

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plein air adventures

What Happens When You Paint in Morocco

Montana artist Aaron Schuerr discovered that painting can open doors better than almost any other activity. It can also have an enormous impact on the painter. By Bob Bahr


hen plein air painters talk about the pace at which they work, they are usually talking about speeding up. You don’t want to chase the light, so it’s important to immediately establish the dark-light patterns and quickly capture the color and atmosphere. But everything is relative. The truth is, painting takes time, more time than many are willing to spend in today’s world. Aaron Schuerr has discovered that art is an ideal way to slow down and connect with another culture in a faraway land. For the past two years, Schuerr has traveled to Morocco and painted in a remote mountain valley called Zaouiat Ahansal. Most days, he would hike the Atlas Mountains, sometimes setting up in locations no painter has ever likely depicted. He was rarely alone. “One day I set up Schuerr’s setup and view in Morocco’s Atlas Mountains.


Aaron Schuerr offers instruction to children in the Atlas Mountains.

Berber children explore drawing and painting under the guidance of visiting artists.

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it all in,” he says. “We have to say, ‘You’ve got to remember to tell us where you are going each day so we can look for you if we need to.’ Cloe [Erickson, the founder of the Atlas Cultural Foundation] sets up situations so the artists can have cultural experiences and learn about traditional weaving, for example, but the focus is on getting time to paint.”

Setting An Example

Houses on the hillside in Berber country

in the morning to paint this big rock tower, and I’m painting away, really absorbed in the painting process, and then I notice that behind me there must have been at least 20 people leaning against the wall, sitting quietly, watching,” recalls the Montana artist. “It was a little jolting, and they were so absorbed in the process. Some came and watched for about 15 minutes and left, and some stayed for the three hours and watched the whole thing.” Schuerr was there with six other painters under the auspices of the Atlas Cultural Foundation, a nonprofit that got its start preserving and restoring the local ighram, a granary/fortress that is now used as a library. The nonprofit now works in the Atlas Mountains on a broader basis, addressing issues of health, education, and preservation. It has developed a for-profit arm (that donates some proceeds to the foundation) called Atlas Cultural Adventures. Rock climbing, painting, and general cultural tourism are among its offerings. Schuerr and the foundation’s vice president, Ann Justin, make sure that the visiting

artists get what they need and go where they need to go. Schuerr says it’s usually a matter of keeping track of the focused and intrepid painters. “We just set them loose and let them soak

Schuerr gave some instruction to the local Berber children, but mostly he taught by example. During his travels in Morocco, he has painted in cities such as Marrakesh, and in valleys so remote they were just recently put “on the grid,” according to Schuerr. In some of

Atlas Mountain Morning Patterns 2014, pastel, 16 x 12 in. Courtesy of Legacy Gallery, Bozeman, MT Plein air

ARTIST DATA NAME: Aaron Schuerr BIRTHDATE: 1973 LOCATION: Montana INFLUENCES: “Isaac Levitan, John Singer Sargent, Anders Zorn, Clyde Aspevig, Matt Smith, T. Allen Lawson.” WEBSITE: / December-January 2015

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plein air adventures Hilltop Ighram 2014, pastel, 12 x 9 in. Collection the artist Plein air

painting that day gets very few tourists,” he recalls. “I had been there almost two weeks, in those two villages, only going as far as I can walk. I saw a truck going through on a road that you usually only see donkeys on. Two tourists jumped out of the vehicle, took a few pictures, jumped back in, drove a little bit, jumped out and took a few more pictures, and then jumped back in and drove away. It felt so jarring after getting to know the people in the area. I got to know the names of the kids and the names of quite a few of the parents. I felt like saying to the tourists, ‘You have no idea what is here.’ I thought, ‘They are going to see a lot more of Morocco than I am, but they will get to know Morocco a whole lot less.’”

Vehicle For Interaction

those spots, a five- or 10-mile hike beyond the small villages where the artists stayed, were some of the most dramatic, rugged landscapes imaginable. Schuerr is an awestruck fan of the 2,000-foot red limestone rock towers he depicted. But though the colors in the landscape forced him to stretch a bit and the subject matter could dazzle him, Schuerr was struck more by the people, and how his paintings connected with them, than any of the self-evident exotica of Morocco. “It opened up so much warmth and interaction,” he says. “If you go somewhere like this and paint, art becomes the language. I can say so much more about what I think about a place by painting it than any words will ever say. And I found that people really responded to that.” Schuerr notes that photography didn’t have the same effect, especially in cities such as Marrakesh, where people would shirk from a camera or express displeasure at a tourist taking a picture. “With an easel, everyone was my friend,” he says. “People would come out of the shops and bring me tea, and they would watch my stuff if I needed to leave for a second. I guess there’s something universally wonderful about someone saying that this place that you look at every day is worthy of art.” Schuerr even half-jokingly suggests that the United Nations should send painters into places where two cultures need to close the divide between them. “I found that, traveling in that part of the world, art is the most amazing form of diplomacy,” says the artist. “It’s an amazing shared language.” In fact, Schuerr recounts one episode in particular where this became clear to him. “The area in the mountains where we were

“We come into a new place with assumptions and stereotypes, but traveling at the slow pace of an artist helps me understand the different culture in a way that I don’t think I’d be able to otherwise,” says Schuerr. “Maybe that’s where peace starts — slowing down enough to allow meaningful interactions between cultures. Art is an amazing vehicle to facilitate that interaction. I feel like it’s painting that has allowed me to get to know the people of Morocco. It’s a different way of traveling. You get to know the people and area in ways a normal tourist who will snap a few photos and move on wouldn’t.” In general, politics and religion were a non-issue. This might be in part because Schuerr doesn’t come across as a particularly political animal, but mostly, Schuerr says he thinks the ways of mountain villages tend to trump the overlay of religion or politics. Yes, he would hear the Muslim call to prayer each day, but mostly, life in the villages of Amzaray and Taghia just rolls along as it has for thousands of years. “There’s a rhythm of life that predates Islam,” says Schuerr. “Berber culture predates Islam. The sun comes up and the animals need to get out into the hills. You cut

Tougdot Peak, Morocco 2014, pastel, 12 x 16 in. Collection the artist Plein air


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Morning Gate, Essaouira 2014, pastel, 12 x 9 in. Courtesy of Legacy Gallery, Bozeman, MT Plein air

“The paintings are a reminder of a broader narrative that I cherish,” Schuerr says. “For me, each painting evokes a memory, and that is what I get out of the deal. Hopefully the fullness of that memory is implied in the work, so that other people can enjoy it as well.” It also is not an exaggeration to say Schuerr’s time in Morocco has changed the way he sees the role of art in the world. “I didn’t anticipate being challenged and encouraged and changed by the interaction with people because of the art,” he says. “Whether teaching kids on the stone grain-threshing floor that has been there for centuries, or just experiencing the cultural richness of the area, it changed me. And I was able to bring something a little bit new that spoke to the beauty of the place. I felt privileged and humbled to have the opportunity to learn about the region and its people.” wood, get forage for the animals, get the house warm, bake bread, have interactions with other people. That’s what life is about.” The lives of the Berbers are very different from Schuerr’s experiences back home, but the cultural differences he noticed in the art he produced versus the art of the Moroccan children were even more surprising. For one thing, the kids tended to focus on the decorative aspects of scenes, rather than the broad elements. They would zoom in on interesting window shapes, intricate stonework, and the like. Schuerr theorizes that this might reflect the Moroccan culture in general, where Arabic can be written in beautiful calligraphy, carpets have intricate designs, tilework is ornate, textiles are unsurpassed in their beauty, and, in part out of religious concerns, there is less emphasis on the depiction of figures. There was a surprising degree of importance laid upon mark-making and design. The children he taught in the Moroccan villages, and the ones he encountered in the cities, were fascinated and extremely enthusiastic about his painting. Schuerr found that not only did they desperately want to join him in making art, they respected his work and his tools. “In general in Morocco I was always getting crowds of kids, everywhere I went,” says Schuerr. “I always handed out sketch paper and let them draw. Otherwise, they were so enthusiastic and interested that I couldn’t get any work done.”

BOB BAHR is a painter and writer who has been developing articles about art instruction for more than nine years. He lives with his wife and two sons at the northern tip of Manhattan.

Genuine Impact Schuerr and the other artists involved with the Atlas Cultural Foundation are having an undeniable impact on the communities in Zaouiat Ahansal. And Schuerr says the impact the experience has had on him is both personal and professional. The artist returned to the United States with some studies and paintings that add to his body of work, but these pastels and oils represent more than just a moment of painting. Morning Shadows 2014, pastel, 14 x 11 in. Collection the artist Plein air / December-January 2015

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Essaouira Plaza 2014, pastel, 12 x 9 in. Private collection Plein air

Ighram Study 2014, pastel, 16 x 12 in. Collection the artist Plein air December-January 2015 /

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Aggudim Courtyard 2014, pastel, 27 x 19 in. Courtesy of Legacy Gallery, Bozeman, MT Studio


The White Arch 2014, pastel, 27 x 19 in. Courtesy of Legacy Gallery, Bozeman, MT; Studio / December-January 2015

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artist profile


Unifying Expressions in Oil & Acrylic Paintings

This California artist modifies and builds up layers of acrylic paint in ways that make the finished paintings almost indistinguishable from those he creates with water-mixable oils. This gives him more creative freedom and eliminates any misunderstandings about acrylics that might exist among collectors. addition to the problem of glare obscuring parts of the image, there was the issue of the weight of large, framed paintings. I decided to switch to acrylics because I wanted to continue working with a water-soluble paint and get away from the framing issues. However, I then confronted the fast drying time of the paints and the medium’s tendency to develop patches of isolated shapes rather than blended colors.” As an artist and avid outdoorsman, Delanty wanted to find some way of using

Rick J. Delanty

water-soluble paints outdoors, but the only way he could achieve a naturalistic blend of acrylic colors was to overlap strokes of thin paint while he sprayed a mist of water over the palette. “In order to achieve naturalistic blending, I had to thin the paints with water and medium, which sacrificed the thickness and gestured brushwork,” he says. “The paintings looked more like they had been painted with watercolors or gouache than a medium as painterly as oils.”


crylic paints are the most versatile of all the painting media artists can employ. They adhere to a wider variety of surfaces, can be modified with water and mediums to be as thin as watercolors or as thick as plaster, and have greater flexibility than other paints. But while acrylics are widely used by studio painters, they are not often taken outdoors. Plein air painters get frustrated by the fact that traditional acrylics dry quickly on both a palette and a painting surface when the climate is warm and dry. Moreover, they dislike the fact that acrylics are not well suited to wet-in-wet painting techniques and usually dry to a matte finish. Rick J. Delanty’s first acrylic paintings looked like serigraphs, in that the hard-edged shapes suggested that the colors had been applied through stencils. “I worked with watercolors for about 12 years but became frustrated with having to frame the finished paintings under glass or Plexiglas,” he recalls. “And in Divers Cove Morning 2014, oil, 12 x 16 in. Collection the artist Plein air


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All that changed when Golden Artists Colors introduced its line of Open Acrylics, which dry much more slowly than traditional acrylics. Those allowed Delanty to use the watersoluble paints in much the same way he used oils. He also began using Royal Talens’ Cobra Water Mixable Oil colors, which don’t require the use the use of turpentine or mineral spirits. Having slower-drying acrylics and water-mixable oils at his disposal allowed Delanty to achieve a greater degree of consistency in the look of his paintings created with either set of paints. “Finding the Open Acrylics and Cobra Water Mixables has allowed me to achieve what I had been striving for — an integration to my work in various media into one seamless style of painting,” Delanty says. “There are obviously some differences in the way each of the paints in-

termixes, flows from a brush, and dries to a matte or lustrous surface. But I am now finding that with the right balance of surface, medium, water, and paint application, I can create acrylic paintings that look like oils. That is exciting to me, as the two media offer more creative possibilities, and it helps me inform collectors when discussing similarities and differences between the paints.” Delanty says that beyond the technical issues, his paintings express his deep spiritual awareness of the landscape and his everyday surroundings. “I believe that art is not just about the technical aspects of selecting and working with paints,” he says. “More importantly, it is about expressing one’s spirituality. As an artist who is reflecting God’s creations, I feel a certain responsibility to develop my skills to the highest level in order to celebrate the work of the ulti-

Magic Laguna 2011, acrylic, 9 x 12 in. Private collection Plein air

ARTIST DATA NAME: Rick J. Delanty BIRTHDATE: 1951 LOCATION: San Clemente, CA INFLUENCES: “J.A.M.Whistler, Vincent Van Gogh, Winslow Homer, Andrew Wyeth, Neil Welliver, April Gornik, Ran Ortner, Ray Roberts, John Burton, Calvin Liang, and Matt Smith.” WEBSITE: / December-January 2015

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artist profile

Laguna Coast 2014, oil, 12 x 24 in. Collection the artist Plein air

River of Delights 2012, acrylic, 16 x 20 in. Collection the artist Studio


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desire to observe, feel, and translate the majesty of nature. That’s one of the reasons that a good design has to be carefully planned and developed. It can’t be arbitrary or accidental. Plein air painting is an important part of my working method, and I believe that drawing from life is the key to high-level execution of all visual arts. It is the foundation of effective arts education.” And Delanty knows quite a bit about effective arts education: He taught drawing and painting in the public high school in San Clemente, California, for 32 years. He taught full-time for 10 years and part-time for two decades, as he honed his skills and participated in shows and festivals such as the Festival of Arts in Laguna Beach. After retiring in 2006, Delanty became a full-time professional painter, portraying landscapes and seascapes throughout the United States in a style that he terms “expressionistic realism.” Those career changes allowed Delanty to become more involved with art groups and

events, including the Laguna (California) Plein Air Invitational, the Sacramento (California) Art Association, the National Society of Painters in Casein and Acrylic, the Borrego (California) Invitational, the San Clemente (California) Art Association, and Christians in the Visual Arts. He has won a number of awards in exhibitions organized by those organizations and others. Being able to spend more time painting has also allowed Delanty to travel extensively and paint while he is away from home. He recently returned from a trip to England, Scotland, Ireland, and France, during which he created a large group of 6 x 8-inch oil sketches and 5 x 7-inch drawings. “The pressure of limited time can have positive consequences,” Delanty says as he describes his process for painting while traveling. “It forces me to make decisions quickly and be bold in my painting. Paintings can suffer from second guessing and noodling, and that’s especially true with watercolors. In my experience,

mate artist. When artists choose to create representational art, they need perceptual, technical, and design skills that are highly advanced. “Artists look at and respond to God’s creation, so their skills have to be at a high level in order to celebrate God’s creations. We are all individuals who have the freedom to offer our expressions in uniquely personal ways, but we should consider it a privilege to do that in the best way we can.” The artist continues, “Nature directs us, and we have more to express than just our abstract feelings. Painters like me have an obligation and Fiat Lux 2012, oil, 16 x 16 in. Collection the artist Studio / December-January 2015

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Telluride Stream 2014, oil, 8 x 6 in. Private collection Plein air Telluride Stream 2014, acrylic, 16 x 12 in. Collection the artist Studio

one bold stroke of paint is better than 10 tentative ones because the boldness reveals the truth and honesty of an artist’s response to nature.” M. STEPHEN DOHERTY is editor-in-chief of PleinAir Magazine. See more of Rick Delanty’s paintings in the expanded digital edition of PleinAir.

North Beach Silhouettes 2014, oil, 12 x 16 in. Private collection Plein air


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Point Glow 2012, acrylic, 16 x 20 in. Private collection Studio

Horseshoe Falls 2012, acrylic, 36 x 48 in. Collection the artist Studio / December-January 2015

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Seaside Canyon 2014, acrylic, 16 x 20 in. Private collection Studio

Breaking 2014, acrylic, 15 x 30 in. Private collection Studio December-January 2015 /

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Blessing 2011, acrylic, 24 x 24 in. Collection the artist Studio

Here Comes the Sun 2013, acrylic, 18 x 24 in. Private collection Studio / December-January 2015

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Kingâ&#x20AC;&#x2122;s Canyon Stream 2012, acrylic, 48 x 24 in. Collection the artist Studio

Seven Sacred Pools 2012, acrylic, 48 x 20 in. Collection the artist Studio

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oil painting demonstration


Getting to the Fun Part of Painting

Morgan Samuel Price knows that one of the benefits of having a substantial amount of painting experience is the opportunity to get beyond technique and spend more time looking, thinking, and enjoying every new challenge.


his is the fun part of my career,” says Florida artist Morgan Samuel Price. “I get to do all the things I dreamed about when I was starting out, and it’s the time when I have enough experience as a painter and teacher that I can take on any challenge with fresh ideas and a sense of adventure. It’s as if I could jump off a bridge and have a good time deciding where I want to land. I can be more daring as a painter and more resourceful as a teacher. Unlike an older athlete with diminished strength, I have all the energy and direction to keep going.” Price’s comments give hope to every plein air painter who wonders where their journey will take them. Her experience offers encouragement to artists who join the community of outdoor painters after careers in other fields, as well as those who spend decades establishing themselves with events, workshops, societies, and exhibitions. “Wonderful things now happen because people have seen my work, taken a workshop, or watched me during a plein air festival,” she says. “It might be years after we met that someone will ask me to teach a workshop, paint a portrait, join their event, or judge an exhibition. “For example, I recently completed a commission from a collector who was interested in one of my award-winning paintings that had already been sold. They wanted a painting of essentially the same location in North Carolina. I was happy to return to the location, paint another interpretation, and add figures to the original composition using photographs of the collectors’ family members. They were delighted with the finished painting.” Price goes on, “One of the interesting things about that commission is that I emphasized the story of children playing near a rock slide andlake. People love to know the stories behind my choice of Rainbow Eucalyptus 2012, oil, 30 x 24 in. Collection the artist Plein air / December-January 2015

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oil painting demonstration

Demonstration: Fishin’

STEP 1: Price blocks in the middle range of values of the local colors using oil color thinned with Gamsol and modified with Galkyd Lite.

COMPLETED PAINTING: Fishin’ 2014, oil, 16 x 20 in. Collection the artist. Plein air


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STEP 2: She introduces the figure and continues blocking around him to create a spatial dimension.

STEP 3: The artist then adds palm trees and foliage as well as the shadows on the horizontal plane.

location, or just the name of the place where I painted. It helps them relate the painting to their own lives and gives them a story to tell others who see the painting in their home.” About her schedule of workshops, Price says she is now “a more resourceful teacher than I might have been 40 years ago, because I can address my students’ needs in a number of different ways.” She notes, “I can predict how long a demonstration will take, so people know how involved I will become in the creative process. If, for example, students are struggling with color mixtures, I can show them numerous combinations that make greens that are either warm or cool, bright or subdued, pushed into the distant landscape or pulled into the foreground — whatever seems to relate to the subjects they are painting and the level of experience they bring to the challenge. “My normal routine in a workshop is to do a demonstration in the morning and then allow the students to spend three or more hours developing their own paintings. I check in with them during that time to help them on an individual basis, Camphor Tree 2013, oil, 16 x 20 in. Courtesy Ambleside Gallery, Greensboro, NC Plein air / December-January 2015

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oil painting demonstration

The Post Man Only Rings Twice 2014, oil, 12 x 16 in. Collection the artist Plein air

ARTIST DATA NAME: Morgan Samuel Price BIRTHDATE: 1947 LOCATION: Orlando, FL INFLUENCES: “Joaquin Sorolla, John Singer Sargent, Anders Zorns, Diego Velázquez.” WEBSITE:


and then we all get together at the end of the day to discuss their progress and any questions that have come up. I’m totally relaxed when I’m teaching and really enjoy breaking down the painting process to the level that will be most helpful to the workshop participants.” Price says she also thrives on the competition during major plein air events, and she enjoys the social interaction with artists and collectors. “I’m a social people person by nature,” she says. “I also have a competitive streak that is triggered during plein air events. I am always competing with myself. My creative juices flow and my energy level increases. That makes me want to pursue an idea and make it more complicated so it takes everything I have to complete the painting successfully. If you look at my recent work, you’ll see I don’t just paint one house or barn. I include much of what surrounds the main subject so viewers can enjoy the total experience of being at that location. I tend to focus on the essentials to convey my response to what inspired my painting. And, for me, plein air painting is often the passion that drives my desire to paint a scene and complete a credible work.” Looking beyond her current activities, Price says her goal is to continue striving to be a better painter. “Every artist has the possibility of creating their own excitement and facing new challenges,” she says. “It’s like opening a flower, in that beyond each set of petals is another layer of beauty. I may paint the same grove of trees I painted last year, but there is yet more to discover about the

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Poetic Reflections 2013, oil, 24 x 30 in. Courtesy Ambleside Gallery, Greensboro, NC Studio / December-January 2015

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oil painting demonstration

Egrets in Paradise 2014, oil, 24 x 30 in. Courtesy Anderson Fine Art Gallery, St. Simon’s Island, GA Studio

colors, shapes, light, texture, and rhythm. I might start painting the trees in the same way I did last time, but as I get more involved in what I am seeing, the painting takes on a new direction and vitality. That’s why I say this is a wonderful time in my life as a painter.” MORGAN SAMUEL PRICE was born in Cleveland, Ohio, and in 1956 she moved with her family to New Smyrna Beach, Florida. When she was 15, Price began studying with Patricia Kirkeberg, a professional artist in Florida, and in 1963 she attempted her first plein air painting under the direction of artist Elliott McMurrough. She graduated from the Ringling College of Art and Design in Sarasota, Florida, and was hired by Hallmark Cards, Inc., in Kansas City, Missouri. Since then she has been a dedicated professional artist and teacher, with her paintings included in over 70 invitational national exhibitions and numerous national awards. Jean Stern, the executive director of the Irvine Museum in California, wrote that “Morgan Samuel Price is among the best of the true plein air painters of today.”

M. STEPHEN DOHERTY is the editor-in-chief of PleinAir magazine. See more of Morgan Samuel Price’s paintings in the expanded digital edition of PleinAir.

Walkin’ the Dogs 2014, oil, 12 x 16 in. Collection the artist Plein air


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Great Catch 2014, oil, 16 x 20 in. Collection Mr. & Mrs. Colin Waldon Plein air / December-January 2015

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oil painting demonstration

Honeymoon Cottage 2014, oil, 12 x 16 in. Courtesy Mountain Mist Gallery, Cashiers, NC Plein air

Tangle of Color 2011, oil, 8 x 10 in. Courtesy Village Galleries, Lahaina, HI Plein air December-January 2015 /

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The Fishin’ Hole 2014, oil 16 x 20 in. Collection the artist Plein air

The Thirsty Goat 2013, oil, 12 x 16 in. Collection Mr. & Mrs. David Warriner Plein air / December-January 2015

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Trawlers in Port 2014, oil, 24 x 30 in. Collection the artist Plein air & studio

Juanita Luhan 2012, oil, 6 x 8 in. Collection Evelyn Gant Studio December-January 2015 /

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artist profile


Crystallizing Experiences

Reproductions of paintings and amateur artwork by family members can introduce young people to the world of art and inspire them to pursue that interest further. That’s what happened for Woody Cyrus, a Virginia artist who eventually studied with some of the best plein air painters in the country. He is now creating work that inspires others.


any of us can point to one event, individual, or work of art that first motivated us to create artworks of our own. Those crystallizing experiences may have been facilitated by a high school art teacher, a relative who painted, or a room full of masterpieces in a museum. Woody Cyrus’ moment of recognition came at an unlikely time: when he discovered a collection of drawings and a reproduction of a Dutch Master painting hanging in the home where he grew up. “I was raised in South Carolina by Hulda Johnson, who owned several animated drawings that happened to be left behind by a previous

tenant,” Cyrus recalls. “I studied those drawings and started doing my own pencil sketches. I also stared at the reproduction of a Dutch Master painting on the wall of my bedroom. I was amazed that someone could paint such an image. All of that was enough of an introduction to art to make me passionate about drawing and taking art classes in high school.” After high school, Cyrus spent a year studying at the Cleveland Institute of Art in Ohio, but he didn’t have the resources or the focus to continue at the school. Instead, he enlisted in the Navy and took art classes wherever he was stationed. He says, “I was in Scotland for

a while and was able to take courses in classical drawing and color theory at the Glasgow School of Art, plus I visited the museums when I had time. And when I was stationed in Washington, D.C., I was able to study with Robert Liberace, Steve Flemings, and Danni Dawson.” After leaving the Navy, Cyrus traveled to paint and participate in plein air painting workshops. “I was doing figurative work when I took Mountain Epiphany 2014, oil, 24 x 48 in. Collection the artist Studio / December-January 2015

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artist profile

Outcropping, Shenandoah National Park, Near Thornton’s Gap Entrance 2013, oil, 6 x 8 in. Collection the artist Plein air

art classes, so when I participated in an outdoor landscape workshop with Scott L. Christensen, I was completely lost and confused,” he recalls with his typical candor and humor. “I assumed I wouldn’t have any trouble learning plein air painting because I had quite a lot of studio painting experience. Moreover, I thought that once an artist learned to handle the human figure, he or she could paint anything. Well, my assumptions proved to be completely wrong when I attempted my first plein air landscape. I didn’t have the relevant experience needed to 60

deal with changing light, the effects of atmosphere, and the modulation of colors and values when painting deep space. I was stumped!” To address those painting issues, Cyrus became absorbed in the demonstrations and painting exercises offered during the workshop with Christensen. “Many of the other artists were studio painters like me, so I didn’t feel alone,” he recalls. “Scott started the workshop with an outdoor painting demonstration that impressed and humbled all of us. We knew we wouldn’t be able to immediately repeat what we had seen, and we recognized we would need to spend the rest of the workshop trying to apply the knowledge Scott imparted. I’ll admit it was rather frustrating, but Scott encouraged us by saying that if we did miles of paintings, we would eventually be able to paint what we wanted to record with oil colors.

ARTIST DATA NAME: Woody Cyrus BIRTHDATE: 1962 LOCATION: Roanoke, VA INFLUENCES: “My high school art teacher, Dale Bishop, was a huge influence. Also, Rembrandt, Vermeer, Danni Dawson, Robert Liberace, Scott Christensen, Ron Boehmer, Richard Schmid, Clyde Aspevig, Matt Smith, and many others.”

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Goshen Pass, Maury River, VA 2014, oil, 12 x 12 in. Collection the artist Plein air

“As humbling as that workshop may have been, it turned out to be a really good experience because it opened me to learning everything I could about the way Scott conceived and executed his plein air paintings. I later joined a second workshop with Scott and was invited to go on a pack trip with him, Jason Saunders, Roger Dale Brown, Scott Tallman Powers, John Poon, Larry Moore, and several other nationally known artists. Some of the artists got together recently for a 10th-anniversary pack trip, but I was unable to join them.”

looking at a lot of great paintings and focusing my efforts,” the artist explains. “I hung out with Ron, spent a lot of time studying Richard Schmid’s work, and made weekend trips to the National Gallery of Art in Washington.

“During one visit to the NGA I might spend hours in the French Impressionist galleries, and on another visit I might move on to study American landscape, Rembrandt portraits, European landscapes, or some of the other collections of masterpieces. I got something valuable out of all those visits.” Around that time, Cyrus and his wife divorced and he moved to Roanoke, Virginia, where he got a job working the night shift at a local business. “The job works out well most of the time,” he says, “because I have my days free for painting outdoors or in my studio. I can also arrange to spend three or four days participating in plein air festivals. I’ve been juried into Plein Air — Easton several times and have been fortunate to connect with collectors who purchased every painting I created during the festivals. I’ve also arranged

Further Studies Cyrus also studied with Ron Boehmer through the Beverley Street Studio School in Staunton, Virginia, and he appreciated the intellectual discussions that helped him put together some of the ideas he had about painting. “After workshops on painting fundamentals and plein air techniques, I was ready to spend some time Overcast Light, Appalachian Trail Near Roanoke, VA 2013, oil, 12 x 16 in. Collection the artist Plein air / December-January 2015

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artist profile

Across the Pond, Dayton, VA 2014, oil, 9 x 12 in. Collection the artist Plein air


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After the Rains, Culpeper, VA 2014, oil, 9 x 12 in. Collection the artist Plein air

to participate in regional events like the Bath County [VA] Plein Air Festival, organized by Warm Springs Gallery.” Cyrus does quite a few thumbnail sketches to assure himself of the merits of painting a location and to determine how to arrange the compositional elements. “I walk around at the site, making several quick drawings in which I identify the shadow patterns,” he says. “If I anticipate that the pattern of shadows will change rapidly, then I spend a bit more time defining exactly how I want it to appear in my painting. In most cases, I pick a place to set up my easel that will put the sun behind me. “Once I have a strong compositional design fixed in my mind, I consider the overall color scheme, the balance of warm and cool colors, and the harmony of shapes and colors. Then I

premix the basic colors I will need in order to paint quickly. I either tone the surface of the panel or canvas with a thin wash of oil color or I scrub on dry color so the resulting surface is tacky enough to grab the paint from my brush and blur the edges of shapes.” Cyrus often modifies his oil colors by adding walnut alkyd medium or traditional Mayer medium (1 part turpentine + 1 part damar vanish + 1 part linseed oil). “Scott uses the walnut alkyd medium to make his paints dry faster,” he says, “and I use the Mayer medium because I like the way modified paint flows off the brush, and I find that the damar varnish allows for great darks that remain dark.” The artist recently started using Rosemary 24-inch brushes, which, he says, are a “breath of fresh air” because they get him to move back from his easel and pursue a variation of sight-size painting. “I step back from my easel by about 15 or 20 paces, apply strokes of oil color, and then look back at the canvas through a handheld mirror so I can objectively see how

the image is taking shape,” Cyrus explains. “I also love using a palette knife on some of my paintings because it allows me to hit a stroke with lots of paint and move it around so it doesn’t look like it has been slapped on the canvas. It can make some really effective sharp, crisp edges or blended textural shapes. I also have some sculptors’ tools that are handy for scraping into paint and making lines.” WOODY CYRUS will be one of the 30 artists invited to participate in the Olmsted Plein Air Invitational taking place in Atlanta, Georgia, April 22-26, 2015 ( M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine. For more of Woody Cyrus’ paintings plus a brief painting demonstration, see the expanded digital edition of PleinAir. / December-January 2015

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Demonstration: Landscape

STEP 1: Woody Cyrus set up his Gloucester easel in a wooded area near his Virginia home.

STEP 2: The palette of colors the artist used.

STEP3: Cyrus quickly indicates the key shapes using a stiff bristle brush loaded with relatively dry oil colors.

STEP 3: The artist then adds the background blue sky and mountains.

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COMPLETED PAINTING: Landscape Demonstration 2014, oil, 11 x 14 in. Collection the artist Plein air / December-January 2015

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Conway River, Firnew Farm, Hood, VA 2014, oil, 12 x 9 in. Collection the artist Plein air

Idaho! Near Victor, ID 2014, oil, 9 x 12 in. Collection the artist Plein air December-January 2015 /

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artist profile / December-January 2015

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No Limits on Pastel Paintings


n addition to exhibiting with societies devoted exclusively to pastel painting, Colorado artist Clive R. Tyler successfully presents his paintings in major shows of wildlife and Western artwork as well as plein air events. That’s why we’ve invited him to talk about his techniques and professional activities during the Plein Air Convention & Expo, coming up April 13-17 in Monterey. More than 100 artists competed in the 33rd Annual Buffalo Bill Art Show & Sale in Cody, Wyoming. The show featured largely sculptors and oil painters, but Tyler was one of a handful of pastel painters, and the sale of his paintings contributed to staggering total sales of over $1 million — just as they have in several other major museum shows that dominate the market for Western artwork. Tyler is often counted among a very few pastelists in shows headlined by oil painters, sculptors, watercolorists, and printmakers. Moreover, he’s received major awards at many of those exhibitions and events. For example, he won the Artist Choice award in the 2014 Easton Waterfowl Art Expo and the 2013 Award of Excellence in the American Impressionist show. He won the People’s Choice award in the 2012 Buffalo Bill Art Action Quick Draw, the top award in the 2011 South Eastern Wildlife Expo, the Best of Show recognition during the 2010 Window to the Divine Paint Out Challenge, the Best of Show award in the 12th Annual Plein Air Artists Colorado in 2008, and the People’s Choice award in the 2007 Rocky Mountain Plein Air Painters event. Tyer has also been recognized by magazines, societies, and exhibitions devoted to pastel painting, including Pastel Journal and the Pastel Society of America. In fact, he is considered to be one of the top artists using the medium. How does a tall, lanky artist from Ohio who wears cowboy jeans and hats, rides horses, and sports a handlebar mustache gain recognition in so many professional arenas? The answer is in part that he works hard at creating his best work,


Rockies Pack Trip 2013, pastel, 9 x 12 in. Collection the artist Plein air

Tyler’s painting setup

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ARTIST DATA NAME: Clive R. Tyler BIRTHDATE: 1958 LOCATION: Taos, NM INFLUENCES: “Corot, John Constable, Monet, Payne.” WEBSITE: and www.

Raft Trip Plein Air 2014, pastel, 12 x 10 in. Collection the artist Plein air

Texas Hill County 2014, pastel, 6 x 8 in. Collection the artist Plein air / December-January 2015

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Colorado Creek 2014, pastel, 6 x 8 in. Collection the artist Plein air


in part that he is good at the business of promoting and managing his career, and in part because he doesn’t accept limitations imposed by others. “Everyone assumes an artist has to paint ducks and bears to do well in wildlife shows, and while I have painted my share of those animals, I have also sold a lot of traditional landscape paintings at wildlife events,” Tyler explains. “I am known among Western collectors for my paintings of elk, bison, antelope, and cattle, yet those same collectors have purchased my paintings of aspen trees, mountain streams, and sunny beaches. The most important aspect of any work of art is its quality, not the identification of the subject.” Tyler knows there are some dealers, collectors, and jurors who avoid works on paper, especially if the pieces have to be framed under glass, but he doesn’t agree that artists need to hide their pastel paintings simply because someone out there might not understand or enjoy them. His example makes it clear that if paintings are well composed and executed, express an individual point of view, and are easy for people to see without glaring glass, there is every possibility of their being appreciated outside of the pastel-only community. Fall Poudre “The best advice I received when I left the 2007, pastel, 22 x 28 in. field of graphic design and became a full-time Collection the artist artist was that I should learn from historic masters, not just contemporary artists,” Tyler says, pointing out that the risk of looking only at the artists around you is that you may limit both your creative expressions and your marketing opportunities. He says, “Limiting the sphere of influences on your artwork is likely to result in creating work that looks like that of other artists in terms of the core idea, underlying composition, use of color, and amount of detail.” Tyler believes that conformity is less likely to be a problem if, in addition to studying with contemporary artists, one learns from paintings by important historic artists like Jean-BaptisteCamille Corot (1796-1875), John Constable (1776-1837), Claude Monet (1840-1926), and Edgar Payne (1883-1947). He says, “Focus on the best artwork, regardless of the medium, age, or historic context.” Tyler continues, “Another piece of advice I received when I transitioned to fine art is to keep painting as much as possible. It was good advice, and soon after following it I was making as much money as a painter as I did as a graphic designer. I decided to devote as much time as possible to painting. I sold my house

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Roaring Fork 2007, pastel, 28 x 40 in. Private collection

Autumn 2007, pastel, 22 x 28 in. Private collection / December-January 2015

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Plein Air Old Faithful No. 2 2014, pastel, 10 x 8 in. Collection the artist Plein air

Plein Air Old Faithful No. 1 2014, pastel, 8 x 10 in. Collection the artist Plein air

in Fort Collins, Colorado, moved to Taos, New Mexico, and simplified my life as much as possible. I have never regretted the changes I made in my career.” After working in other painting media, Tyler decided to concentrate on pastel painting. “I took a pastel painting class from Lorenzo Chavez at the Loveland Art Academy in Colorado and immediately fell in love with the directness, richness, and beauty of the medium,” he says. “I also participated in a workshop with Skip Whitcomb, who helped me think about plein air painting as fine art.” Although Tyler frequently works on location, he considers the resulting pastel paintings to be explorations in problem-solving and note-taking, not necessarily finished works of art, unless they are created during a paint-out or a plein air festival. “My primary motivation is to try out compositions, gather information, and develop a sketch that can be used as a reference material in the studio,” he says. “I do think of them as independent works of art, but they are so useful to me in the studio that I don’t want to part with many of them. I sometimes call them pages in a textbook I am writing on the subject of problem-solving. “I value plein air painting because it provides an opportunity to witness nature, light, humidity, weather, and all the prevailing conditions. It gives me a chance to stare and analyze a scene for hours in order to accurately capture the values and light effects, to memorize the image so I can easily remember it in the studio, and to recall color variations that aren’t recorded in photographs. Studio painting proceeds more easily when I have already used and understood 68

The palette of colors Tyler used for the series of paintings of Old Faithful

the rocks, river, trees, etc., and I can paint what I observed. It’s good for artists to work outdoors and nourish their souls.” He goes on, “After spending time looking and understanding nature, I make quick compositional ink drawings in a sketchbook, first with lines that establish the scale and placement of shapes, then with cross-hatching to suggest a composition of dark, middle, and light values. When I am confident in my plan, I use pastel pencils to draw the outline of major shapes on a sheet of 800-grit UART paper. Then I establish an underpainting using Sennelier soft pastels exclusively — not the way an oil painter might tone canvas and not like other pastel painters might wash in color. “For example, I might apply orange to the foreground, burgundy in shadow, etc., and then top those off with a complementary color of the same value. In another painting I might

Plein Air Old Faithful No. 3 2014, pastel, 8 x 10 in. Collection the artist Plein air

apply a lime green over orange and go back into those layers with ochres. I use the broad side of the sticks of pastel to get a kind of brush mark, movement, expression. In many cases, I underpaint cool colors under warm ones, warm colors under a cool blue sky, etc. All of that can bring more life to a painting. One layer sits side-by-side and on top of another without being blended, creating broken color and an Impressionist style. “I work with a somewhat limited palette of pastels on location. I set up on an oil painter’s plein air easel with about 100 sticks of pastels in a Tupperware container filled with rice flour. I have another set of pastels arranged from light to mild to dark values by color grouping. My goal is to express the fleeting light with independent strokes of color that come together when viewers stand back from the painting. It never bothers me when someone says that from a distance my paintings look like photographs. That may be one of the reasons I’m not automatically dismissed by people who expect my work to be created with oils. “Another reason might be that I frame the paintings with museum glass that doesn’t have the glare of standard glass glazing. I’m delighted when people walk up close to one of my painting and realize it was created with overlapping strokes of color that take on an abstract quality. At that point the medium becomes less important than the overall impact of the image.” M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine. See more by Clive Tyler, including a brief demonstration and a video, in the expanded digital edition of PleinAir.

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Aspen Sky 2009, pastel, 27 x 21 in. Collection the artist

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Taos Weather Patterns 2014, pastel, 10 x 8 in. Collection the artist Plein air

Aspen Skies 2014, pastel, 10 x 8 in. Collection the artist Plein air

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Beautiful Snow 2011, pastel, 16 x 20 in. Collection the artist

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Demonstration: Along the Rio

STEP 1: Clive R. Tyler first blocks in the warm undertones of the landscape.

STEP 2: He then uses pastels to indicate the warm mid-tones and cool colors for shadow areas.

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THE COMPLETED PAINTING Along the Rio 2014, pastel, 8 x 10 in. Collection the artist Plein air

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Sunset Oak 2013, pastel, 20 x 24 in. Collection the artist

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Aspen Hilltop 2011, pastel, 21 x 27 in. Collection? Plein air

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September River 2014, pastel, 20 x 25 in. Private collection This painting was included in an exhibition organized by the American Impressionist Society.

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watercolor demonstration


Painting Concepts, Not Just Locations

Tom Lynch teaches artists to approach plein air painting with an “art reason,” or a concept related to the elements of a scene. Those help him them get beyond reporting the details of specific location and the obvious beauty of a subject.


llinois artist Tom Lynch has been one of the most successful watercolor artists and teachers of the past 30 years. He has been successful as an exhibiting artist, teacher, and marketing personality, and in recent years he has become one of the top participants in plein air festivals dominated by oil painters. He has been able to make a smooth transition from being a studio painter and teacher, in part because he has always valued the experience of painting directly from life. One of the key aspects of Lynch’s watercolors is that he offers viewers of his paintings an overriding concept and not just an illustration of a place, person, or event. That is, he picks one or two words that summarize both his emotional and intellectual responses. Those words or phrases becomes Lynch’s guide in making decisions that result in the most effective presentation of the complete subject. They help him convey something special about the subject that goes far beyond a detailed rendering or a photograph. In order to explain exactly how a concept can lead to a stronger, more expressive painting, Lynch reveals the words or phrases that helped him create paintings reproduced here. For example, he focused on color when creating the painting Jordan Road (2012), and that helped him celebrate the striations of yellows, oranges, reds and greens in the mountains. The strong composition of darks and lights brought even more emphasis to the display of colors in the landscape. Other example of Lynch’s use of singular concepts includes the paintings Botanical Garden, Golden Light, and 5¢ Biscuits; which are based on the “Art” words layers, warmth,

vibrant greens to warm blue shadows he made with washes of ultramarine blue deep. Some of the other paintings inspired by “art reasons,” as Lynch labels these kinds of inspirations, include Jerome Treasures & Museum Treasures, and Talbot Street North. “When I finished the plein air painting Talbot Street North,” says Lynch, “I was able to describe that scene to someone using the term soft edges. Instead of just telling her I painted a street scene near the museum in Easton, Maryland, I talked about the wonderful twilight glow that occurred just after sunset and the emerging effects of the street lights on various parts of the urban landscape.” Lynch goes on, “This kind of analysis has done wonders for both my plein air and studio work. The paintings are more expressive and creative. While developing them, I become less analytical because my plein air experience has made me more confident in my intuitive (studio) choices. Coupled with my experience and the materials that allow me to easily correct mistakes, I can paint with a positive attitude and not get hung up on little imperfections.” Lynch points out that while he is guided Tom Lynch painting during Plein Air Richmond by a concept or “art reason,” he still responds in 2013 to what he sees rather than heavily editing a scene. “I don’t change what is before me in and dappled light, respectively. In looking at terms of color, value, or focal point,” he says. the subject of a garden center, Lynch saw the “While I am on location, it makes better sense layers of flowers and structures, each defined to paint the wonder of nature in front of me. I by an array of warm or cool colors as well as may make slight modifications in the design of shadow patterns moving diagonally across the the shapes based on a black and white compopicture. Focusing on the element of warmth in sitional sketch I made before picking up a paint the painting with a well defined edge between brush, but most of the painting is faithful to my sections. Lynch built up layers of transparent observations.” watercolor from yellows, golden ochre’s, and / October-November 2014

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watercolor demonstration

Jordon Road 2103, watercolor, 9 x 12 in. Private collection Plein air

ARTIST DATA NAME: Tom Lynch BIRTHDATE: 1950 LOCATION: Naperville, IL INFLUENCES: “John Singer Sargent, Joaquin Sorolla, James Sessions, William Russell Flint.” WEBSITE:


Lynch provided several photographs of studio paintings he based on plein air studies, including Museum Treasures, Long Shadows, and Wall Shadows. “I recommend that every artist spend time painting on location, even those who are primarily studio artists,” he says. “It’s one of the best ways to connect with the landscape, an association that can strengthen artists’ intuition and help them make better decisions about color, edges, contrast, depth, symbols, etc. “I regard time spent painting outdoors as a training aid to help make me a better studio painter. My plein air pieces are short stories or quick descriptions of the vision I want to express. They guide me towards more complex paintings and don’t allow detail to replace the true essence I captured in the plein air study. The beauty of a plein air painting is that they

have a simple, elegant quality. “When working in the studio, I strive to tell an elaborate story through my art,” the artist adds. “In some ways, the plein air painting is a short story while the studio painting is a novel. The difference is not the amount of detail but, rather, the structural components of design, color, focal point, unity, and value change. I look at various plein air pieces that will rekindle the experience or suggest a level of simplicity I want to include in the studio painting. In the end, the two pieces may look similar, but I strive to elicit a ‘Wow!’ reaction to my studio paintings.” He adds that when working outdoors or in the studio, he relies on Holbein Watercolor Paints because of their brilliance, unique blends, ability to be lifted easily, or erased after being re-moistened. Fredrix Watercolor Canvas is his

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Demonstration: Porch Shadows

STEP 1: Lynch first does a detailed pencil drawing of the subject on Fredrix Watercolor Canvas.

STEP 2: In order to silhouette the porch, Lynch does a wet-in-wet application of colors around the structure.

STEP 3: Lynch then adds more layers of color around the porch and a cast shadow on its front edge.

COMPLETED PAINTING: Porch Shadows 2013, watercolor, 9 x 12 in. Private collection Plein air / October-November 2014

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watercolor demonstration

Botanical Garden 2013, watercolor, 9 x 12 in. Private collection Plein air. This painting was created during the Fort Pierce (PA) Plein Air Festival.


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5¢ Biscuits 2013, watercolor, 12 x 16 in. Private collection Plein air. One of the paintings the artist created during Plein Air Richmond (VA)

Landscape Artist of the Year, America’s Top 20 Teachers, two Lifetime Achievement Awards, and signature membership in a number of watercolor societies. He has also participated in (and won awards at) important plein air festivals including Plein Air -Easton! (MD), Plein Air Sedona (AZ), and Plein Air Richmond (VA). His paintings have been featured in eight books, five award winning PBS television series, video tapes, workshops, YouTube videos, and M. STEPHEN DOHERTY is the editor-in-chief of PleinAir magazine. See more of Tom Lynch’s work, as well as a brief video, in the expanded digital edition of PleinAir.

favored painting surface because it showcases color and contrast. Lynch also indicates that there are times when he feels the need to create an intermediate painting before making the transition from a plein air sketch to a studio painting. “I sometimes make a ‘blue print’ or guideline I can follow when I’m developing a studio piece,” he explains. “That’s most likely to happen when I experiment with a new idea and need to fully explore the possibilities. I might also need a preliminary study when creating a comprehensive studio watercolor and I need a reference to keep me on track toward being ‘artistic’ rather than ‘realistic.’ And on occasion, I have showcased these with General’s Sketch & Wash pencil

drawings as finished works of art. “Overall, plein air painting helps me improve the way I see and think, and having in mind an overriding concept or ‘art reason’ allows me to engage viewers in the total look and feel of a watercolor, not just the details. TOM LYNCH’s watercolor paintings have been included in major gallery and society exhibitions, and they have brought him recognition at the Jerome Treasures 2011, watercolor, 8 x 10 in. Private collection Plein air. Painted during Sedona (AZ) Plein Air Festival / October-November 2014

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watercolor demonstration

Talbot Street North 2013, watercolor 9 x 12 in. Private collection Plein air

VIDEO October-November 2014 /

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watercolor demonstration

Museum Treasures 2012, watercolor, 9 x 12 in. Private collection Plein air. Winner of the Best of Show award during the quick draw competition in the Sedona (AZ) Plein Air Festival.

Long Shadows 2011, watercolor, 24 x 36 in. Private collection Studio

Wall Shadows 2012, watercolor, 30 x 60 in. Private collection Studio / October-November 2014

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Two Artists Invited to a Château on the Riviera

Thomas Kegler and Joshua LaRock were artists-in-residence at the Château de la Napoule along the Mediterranean Sea, where they painted inside and around the French villa, gardens, and château, all owned by an American foundation.


he American artist Henry Clews,Jr. (1876-1937) set up a studio in a medieval fortress on the French Riviera in 1918 and spent subsequent years rebuilding the château, castle tower, gardens, and nearby villa with his wife, Elsie “Marie” Whelan Goelet Clews (1880-1959). Their descendants now operate the La Napoule Art Foundation, which provides residency opportunities at the château for accomplished and emerging artists from around the world. This past year, the foundation worked with the Grand Central Atelier (GCA) in New York to make the facilities in France available to two American artists, Thomas Kegler and Joshua LaRock. The La Napoule Foundation was generous in providing living and studio space, as well as the assistance of resident director Alexis Vrousos, but the two artists paid their own travel expenses A view of the Château de la Napoule from the Gulf de la Napoule along the Mediterranean Sea to the south of France. Both artists arrived on August 17, 2014 and spent five days together painting in and around the château before Kegler had to return home. LaRock continued working for another five days and then traveled to Paris, where he was joined by his family. The two artists are instructors at the GCA and their approaches to plein air painting are quite different, at least when they are under strict time constraints. During this residency, Kegler brought his small oil paintings to near completion in two to three hours while LaRock returned to a location at the same time on subsequent days so he could build on the initial painting he did on either RayMar double-primed linen wood panels or lead-primed linen foamcore panels Joshua LaRock Left to right: measuring 8 x 10 or 9 x 12 inches. painting the view Thomas Kegler, LaRock says, “On the first day, I used from the beach Alexis Vrousos paints diluted with turpentine and, usually, a toward the Château (Foundation tower Director/France), small amount of retouch varnish — to hasten and Joshua LaRock the drying time — to block in the drawing and December-January 2015/

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A view of the gardens and entry gate to the Château

The interior of the sculpture studio used by Henry Clews (1876-1937)

Thomas Kegler painting with the château in the background December-January 2015 /

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La Rock’s painting of the view from the coastline

Dawn on the Château de la Napoule Joshua LaRock 2014, oil, 8 x 10 in. Collection the artist Plein air

light effect of the landscape. If the conditions were similar on subsequent days, I went back to the same locations and painted with thicker oil colors to extend the value range. I find that working on a dry underpainting allows me to obtain more detail and a greater variety of (Below) La Rock painting textures than when I work alla prima. I consider along the rocky coastline myself to be primarily a figure painter, so I tried to choose motifs into which I could envision adding people later in larger studio compositions. I am inspired by the work of artists like Sir Lawrence Alma-Tadema [1836-1912], who masterfully painted figures in the landscape or within outdoor architectural spaces.” In contrast, Kegler completed 20 small field studies with the intention of refining them in his studio and then using them as studies for larger and more complicated paintings. “I had to adjust the way I normally work on location because I only had five days to paint,” he says. “When I’m not under that kind of time pressure, I might return to the same location over two or three days as Josh did, but I thought my best approach on my first trip to France would be to bring a large group of paintings to partial completion and then use my memory of the scene and environment to finish them.” Kegler also points out that for the past year he has been using panels he makes by adhering linen canvas to sheets of Dibond aluminum, so the finished paintings are not vulnerable to changes in humidity and temperature. He says, “I prefer to carry the Dibond panels out into the field because they won’t get bent, dented, or broken when I’m transporting them in my backpack or luggage, but the weight of 20 small panels is much greater than foamcorebacked panels. I wanted to keep the weight of my luggage as low as possible, so I also worked on some RayMar double-primed linen panels backed with foamcore. “At home, I would bring my plein air paintings to a higher degree of finish while on location and then revisit them in the studio to add clarification and detail. With the limits on my time in France, most of my paintings were about three-fourths completed, enough for me

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Kegler’s painting setup, with the palette, solvent cups, and mixing area held vertically below the painting panel

The two artists painting on Ile Sainte-Marguerite

Tower Joshua LaRock 2014, oil, 10 x 8 in. Collection the artist Plein air

La Rock developing a nocturnal painting

to have a clear recollection of both the look and feel of the scene. I’ve become more interested in conveying my emotional response to a landscape, and sometimes that is best achieved by adding scumbled or glazed layers of paint in the studio.” Kegler uses Natural Pigment oil colors and mediums, including Oleogel, which adds transparency and thixotropic body to oils, and Epoxide Oil Gel, which speeds up the drying time. “I tone the surface of the panels with a thin wash of either raw umber or burnt umber that I wipe off to leave a pale, warm, wet tint of color on the linen,” says the artist. “Then I make a rough drawing of the major elements of the scenes using a rubber-tipped brush. Once I am satisfied with the composition, I begin blocking in the big shapes and then refining those.” Given the location of the château on the Mediterranean Sea and the fact that the two artists had limited time and travel options, they focused primarily on painting the buildings, grounds, and views from the walled property, as well as on the beaches adjacent to the château. “We had a limited amount of time and inspiring subjects right at hand, so we didn’t venture very far with our painting gear,” LaRock says. “We did make a couple of trips by ferry to Sainte-Marguerite Island, and that gave us an opportunity to paint the vegetation and the views back toward the coastline of Cannes. “We had to adjust to the intense light over the Mediterranean as well as the summer heat, but there were a number of sheltered locations from which we could paint during the day. As any artist would understand, it takes a while to adjust to the light and atmosphere of a new location and also to find appropriate painting sites.” Both artists are now developing studio paintings from their plein air paintings, and LaRock recently exhibited his on-site work in a small gallery space connected to his studio in the Spanish Harlem section of New York City. For more information, visit,, or www.thomaskegler. com. December-January 2015 /

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Sea Overlook, Psalms 146:6 Thomas Kegler 2014, oil, 10 x 8 in. Collection the artist Plein air

Drydock, Psalms 37:7 Thomas Kegler 2014, oil, 8 x 6 in. Collection the artist Plein air

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Cloud Shadows, Psalms 20:4-5 Thomas Kegler 2014, oil, 8 x 6 in. Collection the artist Plein air December-January 2015 /

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LaNapoule Rocks Joshua LaRock 2014, oil, 12 x 9 in. Collection the artist Plein air

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Afternoon Tide, Psalms 104:1 Thomas Kegler 2014, oil, 6 x 16 in. Collection the artist Plein air

The Overlook Joshua LaRock 2014, oil, 12 x 9 in. Collection the artist Plein air December-January 2015 /

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Following Canada’s Great Plein Air Painters

William Rogers recently conducted an outdoor painting workshop with the support of McMichael Canadian Art Collection, a museum that owns one of the largest collections of paintings by the Group of Seven.


n the early decades of the 20th century, a few artists formed a group that came to be known as the Group of Seven. The seven men were employed as graphic designers and illustrators but spent their weekends sketching and painting outdoors. They were committed to exploring, through art, the unique character of the Canadian landscape, and they collectively agreed that Canada’s rugged wilderness regions needed to be recorded in a distinctive painting style. They wanted that style to break from European tradition and reflect an increasingly nationalistic sentiment. Today, the McMichael Canadian Art Collection in Kleinburg, Ontario, has a permanent collection of almost 6,000 works by members of the Group of Seven and their contemporaries, as well as works by First Nations, Métis, Inuit, and other artists who have made contributions to the development of Canadian art. Although the plein air painters were largely unheralded for decades, they are now among Canada’s most famous historical artists and their paintings travel the globe in exhibitions hosted by major museums. Their work has come to symbolize a distinctly Canadian identity. In 1913, Lawren Harris convinced A.Y. Jackson to move to Toronto from Montreal. In that same year, Harris and J.E.H. MacDonald visited the Albright Art Gallery in Buffalo, New York, to view an exhibition of Scandinavian paintings. That show was a flashpoint for the establishment of the group, and it motivated the members to develop a distinctly Canadian style of landscape painting. The members included Harris, MacDonald, Jackson, Arthur Lismer, Frederick Varley, Frank Johnston, and Franklin Carmichael. The artists presented their first exhibition at the Art Gallery of Toronto in May 1920. In late September 2014, Anna Stanisz, associate director of creative learning and programs

William Rogers conducts a painting demonstration.

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The exterior of the McMichael Canadian Art Collection building

Two students with their watercolor paintings / December-January 2015

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at the McMichael Collection, and artist William Rogers presented a painting workshop that took full advantage of the resources available through the institution. It was held in Killarney Provincial Park, one of Ontario’s most popular wilderness destinations, and the course was focused on watercolor painting, with Rogers as the instructor. “Before the workshop began, I prepared myself by touring the collection and I was struck by the freshness of the plein air ‘sketches,’ as they called them,” Rogers explains. “Most were painted on birch panels measuring about 10 x 13 inches, and I could definitely see a progression in each artist’s work as well as the influence they had on each other. [Canadian artist] Tom Thomson’s boldness was picked up by the members, and he, in turn, was influenced by others to simplify the designs of his paintings. The larger studio pieces in the collection were impressive, some being a literal blow-up of the sketch, but the plein air ruled supreme in my estimation. Considering the artists’ groundbreaking status, one has to marvel at how this work continues to impress. “After some preliminary discussions and demonstrations, the participants in the workshop headed outdoors bright and early in the morning to a location I selected along George Lake, a favorite of the seven painters. I picked one particular spot to begin the workshop that offered views quite similar to the ones painted by members of the group. It offered a high vantage point above the hills and water that happened to be interwoven with autumn color. I did a demonstration after we got settled, and then the participants developed their own paintings.” Rogers goes on, “On subsequent days, we explored painting locations on Georgian Bay, and one of the park wardens arranged to take us on a canoe trip that proved to be a special treat. We packed small watercolor kits and paddled across to a far-side beach where we did a few small watercolor sketches. I thought it was very appropriate that we were closely following what Tom Thomson and members of the group did — canoeing to painting locations. I sense we were following the rituals performed nearly 100 years before. We certainly appreciated the different view from below the cliffs as well as the difficulties in having to work with limited

A student sketching in watercolor

materials. It was a very rewarding experience for all of us. I did a couple of small demos of the lakeshore and cliffs as well as a small vignette of two of the artists painting, not unlike what the group had often done a century before.”

Rain Delay “On the fourth morning of the workshop,” Rogers says, “we had to work inside because of rain, but that provided an opportunity

for me to reinforce a few painting principles, including one about looking at ways members of the group simplified the landscape into shapes without much detail. There happened to be a large flat-screen TV in the workshop room, so I loaded photographs I took at the painting locations and used them for discussion and painting demonstrations. The afternoon cleared, so we headed back out to Red Rock Point to paint. “On several evenings during the workshop, the participants and I gathered to look at each other’s work and offer supportive critiques. On the final day, we took a few photographs of each other, said our goodbyes, and headed back to Toronto and reality.” The artists participating in the workshop conducted by Rogers included Gail Grossmith, Chris Ader, Christina Bogdanow, Dawn Drayton, Marlene Madole, and Cathy Barrett. In May of 2014, before the Group of Seven workshop, William Rogers was the Royal Tour Artist invited to travel and paint with HRH The Prince of Wales and his wife, Camilla, Duchess of Cornwall. For more information, visit www. M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine.

Students display their watercolors

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Gail Grossmith painting

Rogers and a student heading off to paint / December-January 2015

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Using Plein Air Studies to Paint Murals

Pennsylvania artist Randall Graham recently completed a mural to commemorate the 125th anniversary of his hometown of Malvern, Pennsylvania. He developed the two sections of the mural using plein air drawings and paintings, as he’s done for previous commissions.


ot many plein air painters are willing to enlarge their sketches onto two 5 x 10-foot canvases and mount those permanently to building walls, but Randall Graham has found it to be a helpful way to connect with his hometown, regional collectors, and the businesses that serve his community. In the past, he has accepted commissions to paint comforting scenes for health clinics, iconic views of Philadelphia for corporate headquarters, collaborative paintings for schools, and figurative compositions for cafes and residential facilities. His most recent and largest project celebrates the history of Malvern, Pennsylvania,

a community of 3,000 residents at the end of a commuter train line from Philadelphia. “I worked with the Malvern Community Arts Project and the Malvern Historical Commission,” Graham says. “They were great groups to collaborate with, and they had confidence in my ability to complete the kind of painting they wanted because I have been painting murals in Malvern since I was 18 years old. They especially liked the idea that I would research the project and engage the community by doing a series of plein air paintings of landmarks in the town. “I finished the outdoor drawings and paintings during the summer, exhibited and

sold that work in Christopher’s Restaurant in town, and then created and mounted the murals in the entry of the Borough Hall/Malvern Public Library.” The city of Philadelphia and the towns surrounding it have become a center for outdoor painting. According to travel writer Malerie Yolen-Cohen, “The Philadelphia Murals Arts Program has overseen the creation Malvern 1800 2014, graphite, 5 x 10 in. Collection the artist Studio

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Malvern, Modern Day 2014, graphite, 5 x 10 in. Collection the artist Plein air

Homestead at Malvern Monument 2014, oil,16 x 20 in. Private collection Plein air

ARTIST DATA NAME: Randall Graham BIRTHDATE: 1977 LOCATION: West Chester, PA INFLUENCES: “The Wyeths, Bo Bartlett, Neilson Carlin.” WEBSITE: / December-January 2015

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The Picket Fence 2014, oil, 12 x 12 in. Private collection Plein air

“My first commission, at age 18, was from the Picket Fence, an upscale gift and accessory boutique in Malvern,” Graham recalls. “I then did a number of interior and exterior murals for a hospital, corporate offices, and residences. In some cases, I had to work on site and paint on brick, stucco, or plaster walls, using Nova Color Artists’ Paint — when budgets permitted — but whenever possible, I encouraged clients to let me paint the murals in my studio on canvas and then install the stretched canvases to their walls. It is easier to work in my studio, and the client is better off having a painting they can remove from a wall if it becomes necessary to sell the building, repair the structure, or renovate the space. “In addition to my studio paintings and murals, I have enjoyed contributing to community projects. For example, last year I worked with students, teachers, and parents at an elementary school in West Chester, Pennsylvania, to create about 700 feet of wall mosaics on the exterior of the building. It was a very big project, and it was very rewarding to be involved with the community and children in creating it.”

Community Spirit Graham continues, “Eighteen years after my first Malvern commission, I was back in my hometown with this important assignment of over 3,800 pieces of art painted on sides of buildings. Of those, 2,000 are still viewable by the public.” A number of suburban towns have followed Philadelphia’s lead by commissioning murals for libraries, courthouses, schools, and the exteriors of downtown buildings. Because Malvern is the last train stop from Philadelphia on the Southeastern Pennsylvania Transportation Authority line, it was inevitable that members of the community would see the value of having artists like Graham paint murals to celebrate the history and community spirit of the town. Backyards of King Street 2014, oil, 8 x 10 in. Private collection Plein air December-January 2015 /

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Baptist Church 2014, oil,16 x 20 in. Private collection Plein air

“As I have done in the past, I created a number of outdoor paintings of the buildings, streets, and landmarks in the town so I could use those as reference for two 5 x 10-foot paintings. I used those oil sketches, on-location drawings, compositional studies, and photographs to work all the important elements into a cohesive design. Because the oil paintings are commissioned for specific locations and have to meet the expectations of a client, I kept everyone informed about the developing painting so there wouldn’t be any unwelcome surprises.” One of those expectations imposed on Graham was that his mural be installed in time for the December 2014 anniversary celebration in Malvern. “Artists always want more time than is available, but I don’t have any problem working with deadlines,” says the artist. “It was certainly in my best interest to take advantage of all the publicity that surrounded the big event. In general, I like the idea of unveiling my murals, because that helps spread the word that I am available for more commissions.” M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine.

Malvern plein air paintings on exhibit at Christopher’s in Malvern, PA

that allowed me to be doing what I love — capturing the feeling of the community-based town through visual representation. I enjoyed every aspect of these commissions, from the initial presentation to arts organizations and civic leaders to the research and plein air painting that helped me compose an appropriate image. In the case of this historic mural, I had the opportunity to gather information from period photographs, comments from long-term residents, and recommendations for what people thought were the most significant locations in the town. / December-January 2015

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plein air events


August/September PleinAir Salon Winners Announced

udges Shirley Hutchins and curator Elizabeth Small of the Bennington Center for the Arts have selected semi-final winners in the bimonthly PleinAir Salon competition. Among those paintings are four that fit into new categories recently added to the competition. For the second contest in a row, John McCartin won top honors: His oil painting Bourton on the Hill won First Place (McCartin previously won the June-July contest). Francesco Fontana’s oil painting Wings won Second Place, and Rod Lawrence won Third Place with his acrylic painting Moonlight & Shadows. The winner of the Plein Air category was Wayne McKenzie, with his oil Spinning. Dave A. Santillanes won two categories: His oil painting The Coming Rain took the Landscapes category, and his piece The Softness of Winter led the Water category. John Buxton won the Figure in the Landscape category for Chasing Shadows, while in Buildings, Bryan Mark Taylor took the prize for City Night. The winner in Nocturnes was Lori Putnam with Midnight in Paris, and Best Floral was Bourton on the Hill won by Kerri Weller with Parrot Tulips. Ann Kraft Walker won the Still Life division with Dawn’s Gift. John McCartin In the three new media awards, John McCartin won in the oil category for The Restless Tide, while Best Pastel Oil, 28 x 39 in. went to Cindy House for Early June Marsh, and Best Watercolor was won by Barbara Simmons for Fleeting Light. The Collection the artist October-November contest will see the introduction of two new categories: Best Overall Acrylic, and Best Artist Under 30, recognizing the best painting of any medium done by an artist when he or she is under 30 years of age. Joseph McGurl will jury the next contest; entries are being accepted now at the Salon’s website at

Wings Francesco Fontana Oil, 6 x 9 in. Collection the artist


Moonlight & Shadows Rod Lawrence Acrylic, 18 x 27 in. Collection the artist

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The Coming Rain Dave A. Santillanes Oil, 32 x 24 in. Collection the artist

Parrot Tulips Kerri Weller Oil, 13 x 18 in. Collection the artist

Midnight in Paris Lori Putnam Oil, 18 x 24 in. Collection the artist / December-January 2015

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L.A. Gets a New Plein Air Event By Bob Bahr


rtists have long painted the urban landscape in Los Angeles, but now, thanks to an art materials shop and the organization behind the Downtown Art Walk, the City of Angels has a high-profile plein air event. Art supplies retailer Raw Materials sponsored the Los Angeles Plein Air Festival, a four-day event that wrapped up October 12. More than 100 artists participated in the inaugural edition of the festival in downtown L.A. Shana Nys Dambrot served as the judge for the competition portion of Los Angeles Plein Air. John Kilduff won the Grand Prize, with Honorable Mention going to Alex Schaefer, who was also the Audience Choice winner. Julian Rodriguez and Lupe Perez shared Honorable Mention in that category. The top water media prize went to John Messer, with Honorable Mention awarded to Dana Tinio. Best Acrylic, and Honorable Mention in the same category, went to Mikolaj Wyszynski. Best Oil was won by Carol Steinberg, while Kevin Spitze won Honorable Mention in the category. Michael Ridley was the top winner in Dry Media, with Honorable Mention going to Steven Thomas Higgins. Joanna Liang won in the Pen & Ink category. The top prize in Mixed Media went to Eddie de la Barca, with Clairfoster Brown earning Honorable Mention.

John Kilduff with the painting that earned him the Grand Prize at the Los Angeles Plein Air Festival.

Weather Can’t Stifle Ohio Plein Air Event By Bob Bahr


ctober generally brings pleasant weather, but even when it doesn’t, the Ohio Plein Air Society’s members are ready. Witness their recent event — in the snow and hail. The society’s 11th annual Plein Air Competition was looking forward to 50- and 60-degree weather per local forecasts, but instead the area saw its earliest snowfall in almost 50 years — along with sleet, hail, high winds, and rain. “In spite of the weather, a lot of beautiful paintings were created,” reports Doreen St.John, an officer with the Ohio Plein Air Society. Jan Wells took Best in Show at the competition, with Carolyn Heffelfinger winning First Place, Marianne Miller winning Second, and Tom Cole taking Third Place. The Artists’ Choice award was won by Chuck Marshall, and Honorable Mention awards went to Mary Holobaugh, Chris Leeper, Joe Lombardo, Robert Raack, and Robin Roberts. The Quick Draw was won by Lombardo. Several companies sponsored awards, including the Rosemary Brushes Award of Excellence (won by Chuck Marshall and Doreen St.John), the STRADA Easels Award of Excellence (won by Marilyn Curry), the Judson/Richeson Awards of Excellence (won by Larry Churski and Ann Grimaldi), the Frame Warehouse Award of Excellence (won by Carol Strock Wasson), and the JFM Award of Excellence (won by Fran Mangino). Ken Emerick, director of the Ohio Arts Council’s Individual Artists Grants and Percent for Arts Program, was the juror. The event was held in Alexandria, Ohio, October 3-5.

Juror Ken Emerick with Best of Show winner Jan Wells

Karen LaValley shrugged at the cold and painted on.


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Second Year a Second Success in Bath County By Bob Bahr


n its second year, the Bath County Plein Air Festival in Virginia again succeeded in making its participating artists feel extremely welcome and comfortable. The key was in the host families, who were true patrons of the arts, according to painters we spoke with. There were awards to keep the competitive juices flowing, too. “This event was different because it was part invitational and part juried, so the art was very diverse,” reports New York painter Elissa Gore. “There was a broader range of styles than I have seen at the other events I’ve attended. Most of the county was under conservancy easements, so the landscape felt unspoiled. The hospitality was amazing.” The event awarded prizes for People’s Choice, Peer Review Best in Show (Artists’ Choice), and a Quick Draw. Two painters tied for top honors in the People’s Choice category: Ed Hatch and Beth Marchant. Mark Horton took Third, and Peer Review Best in Show went to Richard Oversmith. In the Quick Draw, Neal Hughes won First Place, Joey Burrough won Second Place, and Carol Maguire took Third. Honorable Mention awards went to Katherine Galbraith, Ed Hatch, and Kathy Odom. M. Stephen Doherty, the editor of PleinAir magazine, served as judge.

Lauren Andreath paints chickens on Chimney Run Farm.

In Its Second Year, Event Stretches to Two Weeks By Bob Bahr

Sophomore efforts can be very telling; the second year for an event can demonstrate growth or a flat line of simple survival. Plein Air Shorewood, in Wisconsin, was in its infancy in 2013. This year, it lasted two weeks — from September 8-20 — and included a significant art education component. Plein Air Shorewood seems poised to become a major event on the plein air calendar. “The results of this community effort are more than the paintings that were sold,” reports Melissa Marschka, a co-chair of the event. “Our kids are dragging their art easels into their front yards and painting their neighborhoods, and our village is seeing home in a new way.” Organizers went into local schools and gave painting demonstrations and hosted quick paint events in advance of the adult competition. The public portion of the event ran four days, and people associated with the Shorewood festival report that more than 3,500 people participated in some aspect of the event. The sale and exhibition was a success, with more than 100 paintings selling, representing roughly 85 percent of the artists. The event came off thanks to the work of more than 100 volunteers, and organizers are pleased to point out that the festival was truly multi-generational, with women’s groups and schools working alongside professional artists and local businesses. After School, by Anthony Sell. Anthony Sell was the big winner, taking home $2,000 with his Best of Show Award. Shelby Keefe Best of Show won First Place, while Lynn Rix took Second and Edward Corkery won Third. Honorable Mention awards went to Jenny Anderson and Work on display at Plein Air Shorewood James Hempel. There were two Quick Paint competitions; the one focusing on a cityscape was won by Nyle Gordon, while the lakefront competition was won by Sherri Thomas. Thomas Buchs won the People’s Choice award, and the Historical Society honored him with an award as well. The Community Spirit award was won by William Suys, Jr. / December-January 2015

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Felicity Sidwell

Spring Lambs oil 9x12

Sidwell Art Gallery 79 Wallace Circle, West Point, Phippsburg, Maine Gallery 207-389-1031 | Studio 207-443-1241 DECEMBER 6 – FEBRUARY 22, 2015 Open Friday, Saturday and Sunday and by appointment or chance, June - October



KATHIE ODOM plein air painter

Choosing Christmas, 10x20, Oil on Linen

Christmas Solo Show | December | THE DISTRICT GALLERY | Knoxville, Tennessee | (865) 200-4452


December-January 2015 /

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Mary McIntosh


Member of the Pastel Society of America

Monterey Coast Morning, 11” x 14” Pastel “You can’t G et there f rom Here” 1 8 x2 4 i nches , p astel

For upcoming workshop information and to view the artist’s available work, please visit / December-January 2015

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Painting the Golden Isles of Georgia

March 23 â&#x20AC;&#x201C; March 29, 2015

Sharing Some Roseâ&#x20AC;&#x2122;


Oil Painter 502.599.5200

Marsh Shadows

Glenna Pfeiffer

Sailboat at Dock

closing reception will be held on Friday, March 28, 2015, with completed plein air and studio paintings on display. participating members

Anne Blair Brown Dawn Whitelaw Paula Frizbe Pam Padgett Larry Moore Kevin Menck Scott Boyle Andre Lucero Richard Oversmith Paula Holtzclaw

Bill Farnsworth Mark Horton John Michael Carter Lori Putnam Roger Dale Brown Beverly Ford Evans Brett Weaver Chris Groves Dee Beard Dean Katie Cundiff

Jane Chapin Trey Finney Shannon Smith Hughes Jennifer Smith Rogers Mary Garrish Rich Nelson Junko Ono Rothwell Loryn Brazier Stuart Roper Bill Davidson

3309 Frederica Road, St. Simons Island, Georgia 912.634.8414 80

Facebook â&#x20AC;&#x153;f â&#x20AC;? Logo

Teaching Artists:

Bill Farnsworth Mark Horton Roger Dale Brown

&  Demonstrations by:

CMYK / .ai

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CMYK / .ai

John Michael Carter Richard Oversmith Dawn Whitelaw Lori Putnam Bill Davidson


December-January 2015 /

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Larry Cannon Exhibitions San Diego Museum of Art USC Fisher Museum of Art Autry National Center Laguna Museum of Art Oceanside Museum of Art Haggin Museum of Art Weisman Museum of Art Triton Museum of Art Napa Valley Museum Santa Paula Museum of Art Pasadena Museum of History Bennington Center for the Arts

California Art Club Artist Member Laguna Plein Air Painters Association Signature Member California Watercolor Association Signature Member


Sedona Sentinel


10â&#x20AC;? x 14â&#x20AC;?

Fine Art Watercolors 415 . 331 . 3795

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10/24/2014 3:21:39 PM / December-January 2015

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JOIN ME @ Maui Plein Air Invitational February 14-22, 2015

“Nautical Nocturne”


The skiff

Signature Member: American Impressionist Society American Society of Marine Artists Laguna Plein Air Painters Pastel Society of America

California Painting Workshops Starting in January Collectors & Beginners ONLY Focus on Value Color Secrets Lay it Down & Leave it ALONE Strategize for Success

DEBRAHUSE.COM 949-723-6171


“Harbor Daybreak”


20x24, Painted from the Skiff

two worlds

Dockside Currents - 18 x 36, oil, on display though 1/4/15 Prevailing Winds Exhibit, American Women Artists Booth Western Art Museum, Cartersville, Georgia Plein Air Workshops 3/26-29/15 - The Contemporary Austin Art School, Austin, TX 4/30 - 5/2/15 - Anderson Fine Art Gallery, St. Simons Island, GA Towards Lago Trasimeno, Cortona, Oil, 45x60 cm 512.632.4166


Visit or email for paintings of Italy, Zambia & other evocative places.

December-January 2015 /

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Marilyn SiMandle OPaM, aWS Honfleur Afternoon 30x30  Oil on Linen

OctOber 13-19, 2015 WOrkshOp in LOt VaLLey, France FOr mOre inFOrmatiOn, pLease gO tO WWW.mariLynsimandLe.cOm

to secure a simandle painting, or information regarding her books, dvd’s, and workshop schedule please email or call: | 805 698 3481 / December-January 2015

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SHA RON D OY L E Morning Cardinal, Oil, 8x10 (Photographed by Richard Kendall) | 561-309-0397


American Impressionist

Workshop Offerings 2015

| 561.832.4959 84

December-January 2015 /

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Michelle Murphy-Ferguson

“You Talking to Me?”   20”x 20”

EXHIBITING NEW WORK AT THE CROWN JEWELL    266 E MAIN ST, ASHLAND, OR 97520 (541) 488-2401 | 707-768-3421

Jennifer Riefenberg

“Nokkhu - The Setting Sun”, oil, 30 x 20

Plein Air Artists Colorado Associate s Littleton, Colorado

Gallery: Framed Image | Denver, CO | (303) 692-0727

Debra Morr

“Quiet Waters” 18 x 24 oil on canvas Debra Morr Fine Art on Facebook 719-250-1260 | (303)470-5770 | / December-January 2015

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December-January 2015 /

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Mission Gallery The Lodge at Torrey Pines

Forgotten Coast En Plein Air May 1-11 2015

two worlds

JASON PRIGGE Contemporary Impressionist

Shadow Tracking oil on canvas

Big Baobab, Oil, 9x12 in.

Visit or email for paintings of Zambia, Italy & other evocative places.

New Studio/Gallery Open 826A S. 8th St Manitowoc, WI 2015 Workshop Schedule Online Shadow Tracking oil on canvas

New Studio/Gallery Open 826A S. 8th St Manitowoc, WI / December-January 2015

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Better Days



11 x 14 - oil on panel

Best of Show and PleinAir Magazine Award of Excellence Kerrville Outdoor Painters’ Event

Lissa Nicolaus

Oil on Canvas, 24” x 36”

View from the Beach 415-847-2141


December-January 2015 /

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Grace Schlesier

Change of Seasons

12” x 16”, Plein Air Oil

“Grace Your Walls – Sit Back and Enjoy the View” Signature Member of American Impressionist Society and American Women Artists | 858.220.6733

California Art Club, est. 1909 Presents

104th Annual Gold Medal Juried Exhibition March 29 to April 19, 2015 Artists’ Gala Reception

Saturday, March 28, 2015 6:00 to 9:00 p.m. USC Fisher Museum of Art 823 West Exposition Boulevard Los Angeles, California 90089 626-583-9009 Plein Air HP Ad.indd 1

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Ralph Oberg Ice Fall Gold Medal Award for Best Painting 103rd Annual Gold Medal Juried Exhibition 10/19/14 10:47 AM / December-January 2015


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Award-winning member of OPA, AIS & PAAC


â&#x20AC;&#x153;Where Buffalo Roamâ&#x20AC;? oil 12x16


Ace is the Place 24x24 Oil on Linen

3PXBO$PVOUZ @@@@@@@@@@@@@@@@@@


â&#x20AC;&#x153;Shadows of Zionâ&#x20AC;? oil 14x18


1st Pl


2nd P


3rd P


Honorable Mentions

â&#x20AC;&#x153;Along Old Lincoln Highwayâ&#x20AC;? oil 6x8

â&#x20AC;&#x153;Featuring numerous interesting sites in the Piedmont of North Carolinaâ&#x20AC;?

Landscapes, Seascapes and Portraits in Oil Commissions Welcome 402.592.6552

2014 Plein Air Convention Faculty Member President, American Impressionist Society Signature Member: AIS, PAAC, APA 90

Stables at Dawn 16x12 Oil on Board


(303) 809-9425 Sun Valley, Jackson Hole & Denver Commission, Workshop and GalleryInquiries Welcome

December-January 2015 /

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The Kinston Community Council for the Arts presents the 8th Annual Rockland, Belfast and Abroad!

July-Oct in Maine: van Hasselt; Stabin; Castagnet; Andrews; English; Webb; Schaller; Teitsworth; Whisson; Wilson; Page s 207-594-4813

PAINT AWAY: ART CLASSES ABROAD! (a Coastal Maine Art Workshop program)


Tuscany Plein Air Landscape/Figure in Oils May 27â&#x20AC;&#x201C;June 6

Plein Air Paint Out and Exhibition

April 29 - May 1, 2015 Come enjoy the beauty of spring during this juried plein air painting competition held as part of BBQ Festival on the Neuse! Information and online registration available at

TONY VAN HASSELT Provence Plein Air Landscape in WC June 14â&#x20AC;&#x201C;June 24

COLLEY WHISSON Sorrento Plein Air Landscape in Oils Oct. 9â&#x20AC;&#x201C;Oct. 19 / December-January 2015

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J. Brad Holt


“Schodic Point, Maine” 24x36, Oil

Montrose, California Cottonwoods- Cedar Canyon

12x12- oil- 2014- plein air | 435-590-4808

92 626-840-6096

December-January 2015 /

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11/4/14 1:30 PM / December-January 2015

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COLUMBIA CENTER for the ARTS presents






Bringing Life’s Colors to Light

AUGUST 7—30, 2015 A premier plein air event featuring artwork created in The Columbia River Gorge, a painter’s paradise.

Public Reception Friday, August 7, 2015 at Columbia Center for the Arts in Hood River, Oregon


12” X 12” oil on canvas 1

For prospectus and information 94

Your All Inclusive Retreat Experience is located in the heart of the Texas Hill Country. Please check our website for upcoming 2014-15 scheduled workshops with Skip Whitcomb, Kim English, Lorenzo Chavez, Albert Handell, Julie Chapman, and Christine Debrosky “You concentrate on the art while we handle the details” 1-800-827-1913

December-January 2015 /

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THE PERFECT PLACE FOR ARTISTS TO GATHER WE BRING IN THE BEST instructors from around the US and the world for workshops and classes. Weekly open life drawing sessions, special events and exhibits are all programmed to bring together artists and art lovers and to foster the growth of the arts community.


Check our website for schedule updates, classes and workshop listings.


WORKSHOPS: 410-200-8019 Scott Christensen 11/14 Larry Moore 12/14 Dave Santillanes 12/14 Scott Burdick & Susan Lyon 1/15 Bill Davidson 2/15 Peggi Kroll Roberts 2/15 Barbara Jaenicke 2/15 Gil Dellinger 3/15 Roger Dale Brown & Greg LaRock 3/15 Kerry Dunn 3/15 Andy Evansen 3/15 Colin Page 4/15 Becky Joy 5/15 Max Ginsburg 5/15 Romel de la Torre 6/15 Calvin Liang 9/15 James Richards 10/15 Lori Putnam 10/15

Joshua Been John Burton Kevin Courter Marc Hanson Paul Kratter Jennifer McChristian Bryan Mark Taylor Jim Wodark Roos Schuring Kevin Macpherson John Brandon Sills


EVENTS: Christmas Small Work Show Party: Free One-Day Demos 609 Thompson Creek Road, Stevensville, MD 21666 410-200-8019


2015 DATES Jan 19-23 Feb 16-20 Feb 23-27 Mar 10-13 Apr 6-10 Apr 13-17 May 1-5 May 18-22 Jun 12-14 Aug 3-7 Oct 5-9 Oct 19-23 Oct 23-26

INSTRUCTOR David Shevlino-Portrait/Figure Michael Workman-landscape Carolyn Anderson-Portrait Judy Fuller- Landscape John Fawcett-horses (limit10) Don Finkeldei-landscape (limit 12) Robert A. Johnson-still life/portrait Kevin Beilfuss-Portrait/Figure Kaye Franklin-landscape Nancy Bush-landscape Michael Workman-landscape Robert A. Johnson-still life/portrait Cheri Christensen (over a weekend)

DATES Oct 16-19

INSTRUCTOR Nancy Seamons Crookston-Russian Colorism

MEDIUM Oil Oil Oil/Pastel Oil Oil/Wc Oil Oil Oil Oil/Pastel Oil Oil Oil Oil

PRICE $650 + Model $895 $850 + $50 Model $495 $950 $550 $575 + $30 Model $650 + $50 Model $475 $750 $895 $750 + $30 Model $650


PRICE $575 + $50 Model



W W W. F B G A R T S C H O O L .C O M · B U S H @ F B G A R T S C H O O L .C O M P H O N E 8 3 0 - 9 9 7- 0 515 · FA X 2 0 8 - 2 47- 2 4 9 0 / December-January 2015

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December-January 2015 /

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Plein air lovers love the PleinAir Apron. â&#x201E;˘

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Order for Christmas at $25.00 plus S&H.


December-January 2015 /

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classifieds WORKSHOPS:

Art lovers will love it.

SCOTTSDALE ARTISTS’ SCHOOL: DISCOVER A VARIETY OF WORKSHOPS ARIZONA Upcoming workshops include: The Value of Watercolor with Andy Evansen; Painting Outdoors in Gold Canyon, Arizona, with Dan Young; Landscape Painting en Plein Air with Ron Rencher; Plein Air Extreme to Studio with Ray Roberts; Making a Painting Work with Ned Mueller; The Principles of Painting with Robert Moore. To view more workshops and schedules, visit the School’s website. Phone: 800.333.5707 E-mail: Website:

A subscription makes a great gift. 800-610-5771 |

Oliphantsberg, Marc R. Hanson

Join the world’s leading art collectors.


Phone: 410.770.4421 E-mail: Website:

CHARLIE HUNTER VERMONT Big fun, excellent food, fine lodging. Paint Vermont scenery, faded industrial villages, and farm machinery, and visit sugar houses in weather that can be sunny, snowy, sleety, foggy, and rainy — all in one afternoon! Charlie Hunter painting demos and kick-butt critique sessions. 

Receive more “personalized time,” higher instructor-to-student ratio, 8-10 student maximum or Premium all-inclusive workshops, 6-8 student maximum. Our instructors are knowledgeable and engaging and will work hard to ensure you receive the Workshop Dates: March 10-15 attention you deserve. We have a great lineup E-mail: this year in some exciting new locations! Website: Dave Santillanes — May 7-10 Kim English — May 18-21 Kim Mackey — June 2-5 George Strickland — June 23-26 Bill Davidson — August 25-28 Michelle Torrez — September Don Hamilton — October 6-9 Rusty Jones — October 19-22 Contact: Marty Brens Phone: 719.545.2795 Email: Website:


Fuel your passion. Subscribe today. 800-610-5771 |

Nancy Tankersley — January 17-19, 2015 Kevin Weckbach — February 6-9, 2015 William Schneider — March 27-30, 2015 Laura Robb — April 10-13, 2015 Jon Redmond — May 1-3, 2015 Gay Faulkenberry/Nancy Tankersley — May 15-17, 2015 Sally Strand — August 6-9, 2015 Hiu Lai Chong — August 28-30, 2015 Tom Lynch — September 25-28, 2015 David Shevlino — November 5-8, 2015

PAINT IN PROVENCE WITH JANE BARNARD WISCONSIN Join our plein air painting adventure in Provence, France! We’ll follow the footsteps of Van Gogh and Cezanne, capturing the essence of a landscape rich in colors and sunlight. Includes nine nights of lodging, several meals, airport transfers, day trips, and painting instruction.   Workshop Dates: June 12-22, 2015 E-mail: Website:

Study with award-winning professional artists in charming Easton, Maryland.

Fumiko, Joseph Dolderer (detail) / December-January 2015

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Take your creative spirit on a journey into the heart of Morocco, a land of inspiration, exoticism, awe-inspiring scenery, unique culture, and graciously hospitable people. Join master artist Roger Dale Brown for Aaron Schuerr will lead a small group of a 10-night/11-day plein air workshop. adventurous artists to remote mountain “Volcanoes and Roses” will take place in the villages far beyond the normal tourist haunts. Ecuadorian Andes. Price includes all lodging, meals, transfers, and many extras. Airfare Workshop Dates: March 23-April 3, 2015 not included. Phone: 406.539.8393 E-mail: Workshop Dates: August 26-September Website: 5, 2015 Cost: $3,250 artists/$2,275 non-artist companions Contact: Plein Air South America Phone: 601.842.7796 E-mail: Website: PLEIN AIR FRANCE HOLIDAYS FRANCE An exceptional week of Loire Valley Plein Air Painting in the magical cave village of Trôo with artist Tom Hughes. Participants will be coached at each person’s individual skill level, from experienced outdoor painter to outright beginner. Early-bird discount before 12/31! Workshop Dates: May 16-23, 2015  Contact: Kate Kilbourne  Phone: 415.922.5872 Email: Website:

CALL TO ARTISTS: OIL PAINTERS OF AMERICA 2015 NATIONAL JURIED EXHIBITION OF TRADITIONAL OILS ST. AUGUSTINE, FL Cutter & Cutter Fine Art will host next year’s exhibition at their Brilliance in Color Gallery, located in St. Augustine, Florida, May 1-May 25. To enter, artists must reside in the U.S., Canada, or Mexico and be a current member of OPA at an annual fee of $70. OPA is now accepting 2015 members. This year’s Juror of Awards is Master Signature Artist Huihan Lui, OPAM with $75,000 + in prizes. Entry fee is $30 for the first and $15 for the second. Maximum painting size not to exceed 1,200 square inches.

For a prospectus or more information, visit: events/exhibitions/2015/national/index.cfm  OUTDOOR PAINTERS SOCIETY 9TH PLEIN AIR SOUTHWEST SALON DALLAS, TX There will be $10,000 in cash and merchandise with a $5,000 Best in Show. Plein air work only. Prospectus and online entry form at Open to all members of OPS. To join, go to www. Exhibition Dates: April 11-May 15, 2015 Entry Deadline: January 5, 2015 E-mail:

FOURTH ANNUAL FINGER LAKES PLEIN AIR COMPETITION & FESTIVAL CANANDAIGUA, NY This is a juried competition for paint media including oil, watercolor, pastel, acrylic, and gouache. Awards total over $7,000. Judge will be Nancy Tankersley, and the exhibit will be held at Sonnenberg Gardens. Visit us on Facebook at Event Dates: June 10-14, 2015 Entry Deadline: January 30, 2015 Contact: Pat Rini Rohrer Gallery Phone: 585.394.0030 E-mail: Website:

ITALY WITH BECKY JOY ITALY This workshop will take place at La Romita School of Art in Italy. Experience two weeks of Umbrian life while painting and learning, both in plein air and studio, from artist Becky Joy. All ground transportation on private bus, including pick-up and return to airport in Rome. Workshop Dates: June 18-July 2, 2015 Website: workshops 100

December-January 2015 /

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2015 VIDEO & BOOK CATALOG F E AT U R I N G 5 0 + A RT I ST S a n d OV E R 16 0 B O O K S & V I D E O S

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Directory of Advertising Anderson Fine Art Gallery .............................................................. 80 Art & Frame Co. ............................................................................ 92 Art in the Aspens Workshop ........................................................... 99 ............................................................................... 97 Artwork by Dr. Joel Heger .............................................................. 92 Artwork Essentials .......................................................................... 93 Best Brella ...................................................................................... 98 Blue Ridge Oil Colors .................................................................... 98 Brown, Anne Blair........................................................................... 89 California Art Club ........................................................................ 89 Camille Przewodek Studio .............................................................. 79 Canson/Royal Talens .................................................................. 2, 12 Cheatle, Frank ................................................................................. 80 Christopher, Tom ............................................................................ 79 Coastal Maine Art Workshops ........................................................ 91 Columbia Center for the Arts .......................................................... 98 Daniel, Laurel ................................................................................. 82 Davis, Julie ...................................................................................... 88 Dawson, Debra Joyce ...................................................................... 78 de Braganca, Michele ...................................................................... 86 Debra Huse Gallery ........................................................................ 82 Easton Studio 3 .............................................................................. 99 Fehlman, Mark................................................................................ 87 Fredericksburg Artist School ........................................................... 95 Gamblin Artist Colors Co. ....................................................... 13, 93 General Pencil Company .............................................................. 103 Gephart, Susan Nicholas ................................................................. 83 Groesser, Debra Joy ......................................................................... 90 Hartford Fine Art & Framing ......................................................... 95 Hassard, Ray ................................................................................... 94 Hitt, Karen........................................................................................ 6 Holt, Brad ....................................................................................... 92

Hou, Hai-Ou .................................................................................. 95 Hunter Studio ................................................................................ 99 Immel, Peggy................................................................................... 85 Indiana University Press .................................................................. 84 Jack Richeson & Company. Inc ........................................................ 4 JFM Enterprises ............................................................................. 96 Jiang, Xiao S...................................................................................... 5 Joy, Becky ...................................................................................... 100 Judsonâ&#x20AC;&#x2122;s Art Outfitters .............................................................. 12, 97 Keefe, Shelby ................................................................................... 83 Kinston Plein Air Paint Out ............................................................ 91 Larry Cannon Watercolors ............................................................. 81 Light Chasers ................................................................................ 11 Lindenberg, Richard...................................................................... 101 MacDonald, John............................................................................ 91 McCown, Candice .......................................................................... 94 McIntosh, Mary Olivia.................................................................... 79 Mertz, Nancie King ......................................................................... 88 Morada Way Arts & Cultural District .............................................. 9 Morr, Debra .................................................................................... 85 Morris, Suzanne .............................................................................. 88 Murphy-Ferguson, Michelle ............................................................ 85 NC Open Plein Air ........................................................................ 90 Nicolaus, Lissa................................................................................. 88 Odom, Kathie ................................................................................. 78 Oh-Be-Joyful Gallery ................................................................ 14-15 Oil Painters of America ................................................................ 100 Ontario County Arts Council ...................................................... 100 Out West Art Show and Sale .......................................................... 18 Outdoor Painters Society .............................................................. 100 ............................................................................ 94 Panel Pak ........................................................................................ 98

Pfieffer, Glenna ............................................................................... 80 Plein Air France ............................................................................ 100 Plein Air Painters of the Southeast ................................................. 86 Plein Air South America ............................................................... 100 Price, Morgan Samuel ....................................................................... 7 Prigge, Jason .................................................................................... 87 Putnam, Lori ................................................................................... 81 Raymar Art ........................................................................... 12, 104 Reis, Hope ...................................................................................... 84 Riedinger, Kathy ............................................................................. 90 Riefenberg, Jennifer ......................................................................... 85 Ring, Katerina ........................................................................... 82, 87 Ringling College of Art and Design, Inc. ........................................ 17 Rosemary & Co ............................................................................. 97 Rothe, Vanessa ................................................................................ 93 San Domingo Ranch ...................................................................... 91 Savoir Faire ..................................................................................... 12 Schlesier, Grace ............................................................................... 89 Schuerr, Aaron .............................................................................. 100 Scott L. Christensen Studio ............................................................ 13 Scottsdale Artistsâ&#x20AC;&#x2122; School ................................................................ 99 Sharon Doyle Fine Art ................................................................... 84 Sidwell Art Gallery .......................................................................... 78 Silver Brush Limited ....................................................................... 13 Simandle Studios ............................................................................ 83 Smithwell, Jennifer .......................................................................... 94 Steele, Robert Gantt ........................................................................ 86 Strada Designs ................................................................................ 98 University of Wisconsin .................................................................. 99 Value Viewer ................................................................................... 96 Wimberley Artist Workshops ......................................................... 94 / December-January 2015

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painters painted

Howard Friedland, OPA


y wife, Susan Blackwood, and I hired a friend who is an outfitter here in Montana, Dan Reddick, to take a group of painters on a horse packing trip,” Howard Friedland explains. “Each day, we got up at dawn and enjoyed a great breakfast while the horse handlers loaded our painting gear and our packed lunches on the horses and mules. We then headed up the mountain to paint picturesque spots like Rams Horn Peak as well as the wildlife along our trail, including moose, mountain goats, elk, deer, eagles, and wildflowers. “Painting Wildflowers is of Reddick creating a watercolor painting of wildflowers while his dog and horse wait nearby. Several of my paintings from the trip have sold, and some have received awards in juried exhibition. This particular piece was included in the Masters in Miniature Show at Trailside Gallery in Jackson Hole, Wyoming in July 2014.” For more information, visit

Painting Wildflowers 2013, oil on linen panel, 9 x 12 in. Collection the artist Plein air

Coming in the February/ March 2015 Issue of PleinAir Magazine As anticipation builds for the Plein Air Convention & Expo, we will feature several of the demonstrators who will share information about outdoor painting, including Quang Ho, Jean Haines, and Carolyn Anderson. The issue will also include demonstrations by pastel artist Kevin Beck, and a profile of Amery Bohling. The Special Section in this issue will highlight plein air floral paintings.


Kevin Beck

Quang Ho

December-January 2015 /

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“When I only have a few minutes, I enjoy creating with my SKETCH AND WASH® pencil. Sometimes a quick sketch in black and white is the most elegant. I created some at the last two Plein Air (competition) events and they both sold! Need I say more?” ~Tom Lynch Pencil Makers in the USA Since 1889

GENERAL PENCIL COMPANY, INC. Factory Jersey City, NJ USA Info PO Box 5311 Redwood City, CA 94063 Tel 650.369.4889 · Fax 650.369.7169

Watch Tom Lynch draw and paint with GENERAL’S® SKETCH AND WASH® Pencil at or


PleinAir December/January 2014-15  

PleinAir is the premier magazine about the art of the landscape painting and features today’s best living and historic landscape artists. Th...

PleinAir December/January 2014-15  

PleinAir is the premier magazine about the art of the landscape painting and features today’s best living and historic landscape artists. Th...