The Van Gogh Canvas Attack

My current "project"--my goal--in painting daily is that I will loosen up my hand in painting and get more comfortable with it. I am comfortable and confident drawing, but I am intimidated when it comes to painting.

 I did two paintings on Friday morning, 07-30-2011. They are entitled Cheshire Sunrise I and Cheshire Sunrise II. These paintings are good examples--in my opinion-- of my hand beginning to loosen up and my brushstrokes becoming more bold and confident.

One reason these paintings turned out this way is because I was racing to transcribe the sun as it came through the trees and headed up into the sky--I didnt have time to tighten up and plan and get really precious and precise.

I love these fast attacks!

Cheshire Sunrise I



Cheshire Sunrise II



I am reminded  of what I read in The Yellow House: Van Gogh, Gauguin, and Nine Turbulent Weeks In Arles. In this marvellous book the author, Martin Gayford, describes Vincent van Gogh's Sabre--slashing--attack of the canvas with brush and palette knife.

I am no Vincent, but I think I can learn from this Sabre Attack in which I just get the paint on the canvas instead of laying it down then pushing it around here and there.

One tendency that I have had is putzing around with the paint until I overwork the canvas and make a mess.

Please wish me luck as I work on my artist's project.

Sunset Over The Wetlands: Daily Painting; 07-23-2011

Sunburns, Wetlands, and Painting The Big Blue Sky



The Big Blue Sky
Pastel on Canson's pastel paper
9" x 12"



I got sunburned on my face, hands, and feet doing this pastel painting. I forgot to take sunblock and my big straw hat.

On the bright side (pun intended) I found a new place for finding motifs--interesting and beautiful places to paint: to the west of downtown Eugene Oregon are wetlands and wildlife refuges. I can even get there by bike because the bike trail runs all the way through these beautiful areas.

Next time I go there I will go closer to sunset and not again at mid-day.

Monet's Children



Today, I went out to paint en plein air--in the open air--and I was very disappointed with the little painting I made. It was covered in cliche and powedery looking, as if I used baby powder on it instead of Sennlier pastels.

Finally, I packed up my gear and headed for home, wondering why I hadnt become a plumber or something besides an artist. Maybe I am just not a landscape painter, I thought as I felt grey clouds form in my mind.

I got home and watched a Mark Rothko documentary on YouTube while eating a TV dinner--I was trying to make myself feel better.

After the documentary I walked out onto the porch and I saw the sunset. My mouth dropped open and I rushed for my pastels. They were nearby on the bed and I grabbed a handful of them and started  in.

If the neighbors had looked out their window they would have seen a bearded man staring into the sun chattering and scribbling furiously all over a piece of colored paper. I was chasing the light! 

 I didnt have time to think about establishing a good composition or values or even underpainting--I was racing.

When I was done and the sun was down over the trees I looked at my little painting and smiled.

I am an artist, I thought, why did I ever doubt?

 To Monet, who chased the light and found it--I salute you!

This painting, as most of my others, looks a lot better on Flickr. To see my photostream just go to Flickr and look up Daniel Balter. http://www.flickr.com/photos/43692916@N03/

Process-Painting: Sunset City



Sunset City: Oil on canvas 6"X6"

I wanted to show you all the process, some of the steps, that go into making a painting.

The above photo is the finished product, but the following photos show where I started and how I progressed.



1




2



3



4

5




6



7-the finished painting.

This painting started out as a "mentor painting"--which means I was transcribing it from one of the modern Masters but I added some final touches to make it my own. The Master was Tom Brown whose style and prolific output is inspiring. He sells DVD's that teach his style of painting which is Modern Impressionist but I can't afford, right now, the DVD. 

Many of the old Masters practised transcribing the works of the Masters that went before them; for example Vincent van Gogh transcribed the paintings of Delacroix, Millet, and many others. Some of Vincent van Gogh's most famous poaintings are actually his transcriptions of Millet paintings.
Vincent's "Sower"--which he painted many times-- is an example.

As I continue to learn I will continue to share and thank those who are showing me the path.




Painting On Sandpaper!

I painted this 5 1/2" X 7" pastel painting on sandpaper.

However, this isn't the kind of sandpaper you will find in shop class, this is the kind you will find in art class.

I have been in the University of Oregon's bookstore way too much lately: downstairs where they keep all the art supplies; spending money--ouch!

However, becoming a pastel painter means buying the necessary supplies and making new and exciting discoveries: like this UArt brand, acid free, premium, sanded pastel paper. It comes in 400, 500, 600, and 800 grade--which tells us how much tooth the paper has. The higher the number the finer the grit on the sandpaper.

The reason why it is for artists rather than carpenters is because this stuff is acid free and very high quality. The reason pastel painters use it is because the tooth of the paper holds a lot of pastel and consequently the pastel doesn't want to go anywhere else but on the surface of the paper. It is very happy there and I was happy to make a new discovery--yea!

Marsha Savage Pastel Demo

Charcoal: The "Gateway Medium"

I have been doing a lot of painting outside. This is called painting in the open air or en plien-air. (En plein-air means "in the open air", in French.)
The French Impressionists such as Monet, Renoir, and Pissaro are the ones who brought painting in the open air into the forefront as a painting phenomenon.

Painting en plein-air is very new for me. Also my subject matter has changed from works of imagination and portraits to landscapes. My work is brighter now and in color and I am using oil paint and pastels.

The road to pastels has been interesting and exciting. I started down that road started when I switched, in drawing classes, from graphite to charcoal.
 Charcoal, for me, was a "gateway medium".

Doing landscapes in pastel began in my Intermediate Drawing class (at Lane Community College in Eugene Oregon) when we were asked to go outside and draw a landscape. I thought that I would try a sepia (reddish brick brown) and umber (dark coffee brown) colored charcoal. It just seemed more natural to use earth colors for a landscape than use black--which rarely occurs in nature.
The resulting drawing is below.

My first landscape

When I did this drawing I realized how much I enjoyed drawing nature from direct observation.

Then I watched a YouTube video in which David Hockney talked about how he was doing sunrise landscapes with a paint application on his iPhone. I loved the look of the sun and colors that he did and the next morning when I got up the sun was rising over the treetops. I didn't have an iPhone and I needed to hurry and grab something which would enable me to render the quickly rising sun; I grabbed a boxed set of Rembrandt pastels and drew the sunrise. Here is the drawing/painting:

A morning sunrise rendered with Rembrandt pastels.

This was my first full color landscape--I was hooked!

There was no way I could have mixed paint in my palette and then painted the racing, rising sun. I found out later that this same sense of urgency to capture light is what caused Monet to do his "impressions".
This sense of urgency that painters feel is called "chasing the light".




The pastel painting below was the first landscape I did where I intentionally took my pastels and went out to paint a landscape. It is of a stand of trees at a nearby golf course.

I thought I would try to paint a landscape with acrylic paint and the painting below is a painting of a tree in the Owen Rose Garden.

 I am still trying to fall in love with acrylic but we have an on-again-off-again relationship. This small acrylic painting on a wooden panel just sold and will soon be in a private collection. I will miss it because I like how it makes me smile when I look at it.


I recently spent four days in the woods at my parents house. I took my pastels and drew this sunrise as the sun came up over the mountain.

I also took to their place a big book of the complete works of Vincent van Gogh. I learned in college that a way to excel as a painter is to copy the Masters--Vincent copied the masters who went before him--so, I did a few pastel copies of van Gogh paintings. Here they are:

Copying the work of  beautiful and brilliant Vincent van Gogh was a real pleasure. He is one of my favorite artists. A good book about him--a biography--is called Lust For Life. It was written by Irving Stone.



I did the pastel painting of the pine trees after I had copied Vincent's paintings and I think that his style influenced me a little. I used brighter color than I do usually. By way of illustration, compare this pine tree painting to the sunrise at my parents house, which I painted before I did the Vincent's. Can you see how I brightened my color palette?

I want to end this entry with the latest pastel painting I did. I drew this one from my imagination but it is a landscape--

Hopefully, there will be many more works of art to show you--I am painting like a madman this summer!
I am excited about painting in the open air and about my discovery of pastel painting.