PleinAir's 2019 Guide to Painting San Francisco & Wine Country

SPECIAL SUPPLEMENT TO PLEINAIR MAGAZINE

A GUIDE TO PLEIN AIR PAINTING IN SAN FRANCISCO AND WINE COUNTRY

Photo by San Francisco Travel Association

Kim Lordier Whispering leaves of

copper and gold grow rich beneath a leaden November sky.

Behold the beauty of Autumn as she swiftly passes by.

WORKSHOPS 2019

TEXAS - Fredericksburg Artists School

CALIFORNIA - Carmel Visual Arts

www.kimfancherlordier.com AG2 April-May 2019 / www.outdoorpainter.com

(650) 270-8352

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California Impressionist E. Charlton Fortune emphasized humanity’s impact on the earth in colorful landscapes like Picking Apples.

KEEPING IT REAL

B

oasting awe-inspiring redwood forests, vineyards set amid rolling hills, and a dramatic Pacific coastline, Northern California has been the backdrop for a number of significan art movements. With all that spectacular natural scenery, it’s no wonder that two of the most popular movements have been rooted in the land, often offering a di ect counterpoint to those in other parts of the country that favored a more abstract approach.

Chief among these movements, California Impressionism sprung up as artists in the Golden State embraced their French predecessors’ interest in loose brushwork, rich color, and, most of all, a fascination with the effects of sunlight. And what better way to captu e the distinctive California glow than by also painting en plein air, a defining featu e of 20th-century California painting.

For Irvine Museum director Jean Stern, one of the most appealing aspects of these California scenic paintings is that they don’t require an interpreter. Unlike more abstract works, “You don’t need help to know what they’re about,” he says. “The mo e you elevate the visual message” with representative art, “the more you have the emotional message underneath.”

As Abstract Expressionism emerged to dominate the art scene toward the middle of the 20th century, California Impressionism gradually fell out of fashion (only to enjoy a revival in the 1970s that continues to this day). But as it goes with the yin yang of aesthetics, attention ultimately returned to Northern California when a group of artists began rejecting the tenets of the predominate movement in favor of a return to a more realistic approach. Known as the Bay Area Figurative Movement or Bay Area Figurative School, these San Francisco–based artists captured local landscapes, still lifes, and genre scenes in a fresh figurati e style.

Many of the “First Generation” artists in this movement were initially proponents of Abstract Expressionism and worked in that manner for a time, including David Park, Richard Diebenkorn, Rex Ashlock, Elmer Bischoff, lenn Wessels, Wayne Thiebaud, and ames Weeks. Spanning two decades, the movement saw two other groups, or generations, adopt this style of painting, and their influence continues to be seen in the wo k of artists in the Bay Area and beyond today.

With such a rich history in art realism and painting directly from life, San Francisco and Wine Country made the perfect hosts for the 8th Annual Plein Air Convention & Expo. If you weren’t able to join us this year, I do hope that you’ll have the opportunity to visit the area someday and take in the magnificent landscapes that ha e played such an integral role in the work to which we aspire.

Kelly Kane Editor-in-Chief

April-May 2019 / www.outdoorpainter.com AG3

INSIDER TIPS FROM LOCAL ARTISTS The light and eather conditions can change fast, so it’s important to capture a moment fairly quickly. You also have to be aware of the late afternoon west wind. In artists’ circles here, there are many stories of tripods and canvases blowing away.

— Michael Reardon San Francisco has lots of tourists, especially from foreign countries. Be prepared for getting your picture snapped and fielding questions from interested visitors if you set up in a popular location.

— Julia Munger Seelos If I’m painting along a road, I use James Gurney’s trick of bringing my own orange traffic cones to al t drivers that there’s an artist ahead. A fun observation is that orange is also the color of California poppies, our state fl wer!

— Carolyn Lord No matter what time of year, it’s colder in San Francisco than you think it is; also, there are many micro-climates in the city, so some neighborhoods are much chillier than others. The key is to d ess in layers, and pack a wool cap, scarf, and painters’ gloves.

— Bruce Katz Always plan for gusts of wind by having a professional outdoor easel. I use a Wondershade Umbrella, which is free-standing so I don’t have to worry about the wind pulling my easel over, plus it covers me completely and blocks out UV rays.

— Camille Przewodek In the city, I pack light, transporting everything I need in a little rolling case that moves easily up and down the hills and doubles as a table when I set up on location.

— Philippe Gandiol If you’d like to paint at a winery, just be sure to ask permission. The ’ll probably be delighted, but a large group showing up all at once could be overwhelming for some spots. Also, park safely — off the oad and legally — and lock your car.

— Bill Cone AG4 April-May 2019 / www.outdoorpainter.com

In the spring, the vines in Wine Country can have quite a bit of new foliage on them. I’ve found that the intense greens don’t make for a great painting if matched precisely. This is one case where painting exactly what you see might not be successful; be sure to bring your creativity.

— Larry Cannon It’s OK to call San Francisco “The Cit ” or “SF,” but please don’t call it “Frisco” or “San Fran” — only tourists call it that.

— Scott W. Prior

(CLOCKWISE) South Anchorage, Golden Gate Bridge, Michael Reardon, watercolor, 22 x 11 in. • Looking West, Potrero Hill, Bruce Katz, oil, 12 x 9 in.

• Fall Vineyard, Larry Cannon, watercolor, 10 x 14 in.

• Market Street Hustle, Scott W. Prior, oil, 22 x 28 in.

PERFECT PLACES TO PAINT EN PLEIN AIR Sonoma and Napa County are truly an artist’s dream to paint, with rolling golden hills, oak and eucalyptus trees, working vineyards, beautiful barns, and Victorian houses. Not to mention that you have wine tastings and wonderful food around every corner.

— Kim Lordier

The e are so many great places to paint, but I would single out Fort Mason for its Golden Gate views, cypress trees, and wonderful architecture. I also recommend Tilden Park, just east of Berkeley, for views of quintessential East Bay hills dotted with oaks and eucalyptus.

— Michael Reardon

If you are able to make it to the Legion of Honor, be sure to bring your paints. High on the headlands above the Golden Gate Bridge, the neoclassical building houses a tremendous permanent collection. Surrounded by cypress tree groves, a beautiful golf course, plus stunning views of the bridge and the city beyond, it’s got something for everybody.

— Kim Lordier I love painting the waterfront and the coastal headlands. I’m especially attracted to the area between where I live above Linda Mar Beach in Pacifica and Half Moon Bay, about 15 miles south of there. — Scott Anthony (LEFT) Zoetrope (North Beach), David Savellano, watercolor, 14 x 10 in. • (BELOW) The Pyramid, Philippe Gandiol, oil, 40 x 30 in.

April-May 2019 / www.outdoorpainter.com AG5

MAIN ATTRACTIONS Crissy Field, with the Golden Gate Bridge and the Marin Headlands in the background

CRISSY FIELD

A former military airfield, rissy Field offers stunning San Francisco Bay views, walking paths, beaches, and wild open spaces.

On Golden Marsh Camille Przewodek Oil, 16 x 20 in.

A view of Land’s End

LAND’S END

A rugged stretch of cypress forest, the northwest corner of San Francisco is bordered by cliffs plunging 200 feet to the sea below. Land’s End guards the narrow ocean channel leading to the Golden Gate Bridge and the entrance to San Francisco Bay.

(ABOVE) Western Shadows, Kim Lordier, pastel, 24 x 30 in. • (RIGHT) Eternal Vista, Carolyn Lord, watercolor, 15 x 11 in.

The Japanese Tea Garden in Golden Gate Park

GOLDEN GATE PARK

One of the most popular urban parks in the country, Golden Gate Park is home to a number of natural and manmade attractions, including the Conservatory of Flowers, Japanese Tea Garden, Botanical Garden, Stow Lake, Oak Woodlands, and the Dutch Windmill.

AG6 April-May 2019 / www.outdoorpainter.com

I’m drawn to North Beach and Chinatown for the variety of street scenes. I also think no artist visiting the city should go home without seeing California Street from Market Street to the top of Nob Hill. — David Savellano The vi ws in the Nob Hill area are spectacular! Plus, you can visit Grace Cathedral, which is super fun to paint. And, of course, after a day of painting, there’s always the famous Tonga Room, where you can enjoy a Mai Tai or other Tiki drink. I’m a fan of the Zombie. — Scott W. Prior

GREAT PLACES TO SEE GREAT ART DE YOUNG MUSEUM

(50 Hagiwara Tea Garden Dr.)

The de Young, located in San Francisco’s Golden Gate Park, has a collection exceeding 27,000 works and is renowned for its American art from the 17th through 21st centuries, modern and contemporary art, photography, international textiles and costumes, and art from Africa, Oceania, and the Americas. Be sure to visit the ninth-floo Observation Level of the de Young’s Hamon Tower and enjoy breathtaking 360-degree views of San Francisco and the Pacific cean.

(ABOVE) Late Sunlight on Pacifi a Hills, Scott Anthony, oil, 12 x 18 in.

• (RIGHT) Mussel Rock Overlook, Julia Munger Seelos, oil, 11 x 14 in.

LEGION OF HONOR

(100 34th Ave., Lincoln Park)

At Heron’s Head Park, you can walk a ways out on the breakwater to catch ships passing by, across-the-bay views, and San Francisco neighborhood houses climbing the hill to the south.

For more amazing views, try taking a ferry out onto the water. — Bill Cone Mussel Rock overlooking the waves in Pacifica, and the dri e along the coast down to Half Moon Bay provide lots of stunning landscapes and views of the ocean. — Julia Munger Seelos I love the surrounding farms and wetlands near my home in Petaluma.

— Camille Przewodek Areas where the land meets the bay are always exciting. The e are so many subjects to paint, from the Headlands, Crissy Field, the Embarcadero, and the many wharves along the water. — Michael Reardon Almost everything in the city inspires me, from the Golden Gate Bridge to North Beach, the Thi d Street Bridge, Nob Hill, and Chinatown. Downtown, the tall buildings create a wonderful canyon effect. — Philippe Gandiol I love painting at Rodeo Beach, just a short distance north of the Golden Gate Bridge in the Golden Gate National Recreation Area. To the north of that is another cove at Muir Beach. Both have tall cliffs, good su f, and a mix of views.

I also love painting at the Presidio, with its interesting topography, beautiful old trees, bucolic vistas, and views to the Golden Gate Bridge and Marin County beyond. — Larry Cannon

Built to commemorate Californian soldiers who died in World War I, the Legion of Honor is a beautiful neoclassic building overlooking Lincoln Park and the Golden Gate Bridge. The museum’s collection features more than 4,000 years of ancient and European art and also houses the Achenbach Foundation for Graphic Arts, one of the largest collections of works on paper in the country.

ASIAN ART MUSEUM

(200 Larkin St.)

In the Civic Center neighborhood, this stately museum is home to one of the world’s most diverse collections of art and objects from across the Asian continent. It spans 6,000 years of human history, and visitors can enjoy beautiful paintings, sculptures, furniture, textiles, and armor, among other objects, originating from Turkey, China, India, Japan, the Philippines, and other Asian cultures.

April-May 2019 / www.outdoorpainter.com AG7

MarkMonsarrat.com

Time for Wine • 108th California Art Club Annual Gold Medal Exhibition

ELLEN HOWARD Solo Exhibitions: Mendocino Art Center, June 2019 and Peninsula Museum of Art Studios, Sept 2019

WWW.ELLENHOWARDART.COM

NON-BLEED

MarkMonsarrat@sbcglobal.net

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Hidden Beach

Karen Leoni

karleoni@yahoo.com • 650.302.2534 •

24 x 30 Oil

@karenleoni • www.karenleoni.com

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Creekside, Curry Canyon, 16x20�, Oil

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