"Why Do They Do It?" The Special Delights of Painting 'En Plein Air'

If not, I invite you to try your hand at this delightful way of connecting with nature. Though I first started painting outdoors in the early 1980's, like many artists I have nevertheless often relied upon photography and sketches to execute my best paintings in the comfort of the studio. But gradually I find myself shifting to more and more outdoor work.

Why?

For several reasons. Here's a few that come to mind:

1. The human eye sees better than a camera. I'd heard this said before, but for me seeing finally became believing in this case. Yes, a camera can wonderfully freeze the ever-changing play of light and shadow as your memory just cannot do (not mine anyway), and that IS its main advantage. But the human eye can see details in dark shadowy places where no camera dares to go (unless it washes out the exposure in the bright areas). In other words, your eyes effectively adjust their apertures continuously to allow you to perceive subtle colors. It's one thing to paint from a photo and just depict that strange squarish blob, whatever it is, in the distance--- and quite another to see it clearly in person. Heck, you can even walk up to it often times and see what it is. Understanding what it is can truly help you paint it well.

2. Painting from life is a way of connecting with people and places. Frankly, one of the obstacles I found earlier in my life to being a professional painter was the isolation of spending so much time by myself. Solitude can be an enriching experience. But it is best balanced by also spending time connecting with others. This could be with other artists you might encounter in plein air classes, or interested passersby, or it could be with nature itself. 

I've found it helpful when painting outdoors to take some time before, during and after a painting session to step back, sit down, wade in the creek, take a breath-- and to just feel the magic of the moment. This might in turn engender a poem or short journal entry. 

Some painters deepen the connection to nature by returning repeatedly to the same location, glazing and re-working a piece or starting another version of the same scene, really getting the feel of a place. I've been doing this more in the last year or two since studying with Clive Pates, a master of "extended plein air" and I really like that aspect of it. Taking your time in this way really makes it more relaxing as well.

3. Your work is fresher and more inspired. Admittedly, a plein air painting can sometimes fall flat on its face. (Sometimes literally, like on a windy day! For this you must learn to anchor your easel with weights or get a broad-stanced one like the Soltek!)  But just as often, the rapid change of sun and shadows invites you to work in a more impressionistic, loose way that gets to the essence of your subject rather than a belaboring of details. I've observed that fresh, painterly gestural brushwork seems to appeal broadly to many viewers. It shows emotion and personality and it leaves somethng to the imagination as well. Some of the appeal may also be how it suggests the essence behind form, which has a kind of spiritual appeal.

4. Health benefits. I bet you didn't consider this one. But if you use oils, painting in the super well-ventilated great outdoors greatly reduces your exposure to the petro-chemical solvents in your thinner (even the odorless ones).  Besides, it's been found that modern humans have a much-reduced intake of vitamin D due to spending way too much time indoors. This has been linked to an increase in a number of diseases, including cancer. Just don't over-do it. A broad-rimmed hat is a must, and definitely seek shade and drink plenty of water on a hot day.

5. It saves you from the temptations of computers. Know what I mean? Modern life has a way of gluing us to our computer screens (even taking us away from our studio easels if we aren't careful!). Getting outside not only removes this major distraction to laying brush to canvas,  but getting outside also means getting back to Real Life! It's really hard to connect to the web out there in the wilderness,  so take advantage of that fact while it's still true. The web is great, but let us not forget to live.  

A closely-related angle on this is the phenomenon of "chance encounters." Getting out in the world, be it a plein air workshop or be it a solo expedition, can open you to some interesting conversations and encounters with people (and sometimes animals) that can lead to all kinds of wonderful sequelae.

Sound like something you'd like to try? I've found that even people who have barely ever picked up a brush or a stick of pastel in their life can do surprisingly exciting plein air work, given a little guidance.

Or experienced studio artists sometimes can find it really helpful to simply get some pointers on the practical aspects of gear, techniques and such that are particular to outdoor painting.

Whether you are a beginner or a pro,  I invite you to join me this February 6th and 7th in Sedona (Saturday and Sunday) for a fun and stress-free weekend exploring "The Heart of Landscape Art," sponsored by the Sedona Arts Center. Besides having fun with outdoor painting in an incomparable location, we will also explore a unique process I've found very helpful in deepening my connection to nature during a plein air session: writing poetry, journaling, or simply stopping for a bit to contemplate the inner qualities that nature communicates through its vast array of fascinating forms.

ADDED BONUS: Each student is invited to share 1-2 of their paintings (and poems) from the weekend as part of a full color print-on-demand book that I will produce on my Mac, available for purchase at cost within a month or two. This has proven to be a real treat for past participants!

Recommended media: oils, acrylics, pastels or any portable setup you've found to work for you. I can provide some help with setups and media for beginners (pastels may work best in that case).

For more information email me here or simply register here.