|Discussing paintings with Bryan Mark Taylor, Doug Morgan and Kim Lordier|
Monday, March 25, 2013
Monday, October 29, 2012
Wednesday, July 18, 2012
Wednesday, March 21, 2012
This past weekend Christin and I were fortunate to be part of a three day workshop atl'Atelier aux Couleurs: The Art Academy in Petaluma with the gifted artist Kevin Courter. The workshop was titled “NOCTURNES” because he often paints with this low-light theme in mind. While most people would consider his approach tonal… he thinks his nocturnes are far less muted than most tonal painters because he uses more intense colors in the backgrounds and skies.
His approach is quite unique and begins with a monochromatic under-painting by mixing dark transparent colors to create the foundation of the painting. Using Q-Tips, he pulls of delicate amounts of paint from the masses to indicate the highlights and shape of the trees, marshes, etc. He spends quite a long amount of time on this process and considers it crucial to be successful at this stage or the painting will often not work out. It’s almost as if he was using a scratch-board process. He begins applying color. He mixes in a large puddle and pulls all of his colors from here using very subtle shifts. It’s crucial to have a compressed palette in nocturnes because the night light flattens the color temperature.
I don’t take many workshops, but I believe that by occasionally exposing myself to the techniques, methods and thought processes great painters… these things will absorb into my knowledge base and merge into my process however it should. It is tempting to try and copy his paintings and style… but I consider this counter-productive. Simply watching and absorbing his demos was a treat. He is a very generous painter/teacher and I have a newfound appreciation for his work (which I always liked anyway). There were many other wonderful artists in attendance and the paintings that were created were put up on the holding shelves during the three days… in the end, there were so many fantastic creations that it was even difficult to pick out the original Courters’.
Here are the three paintings I created at the workshop. I'm pleased with all of them.
Refuge Moon - 12x12 oil - by Richard Lindenberg
Moonlit Cypress - 12x9 oil - by Richard Lindenberg
Bodega Bay Moon - 8x16 oil - by Richard Lindenberg
Thursday, February 9, 2012
It has been an unseasonably warm winter here in Northern California with very little rain. Although this isn't good for the ranchers or our water supply... it's been great for me as a plein air landscape painter. I've been out a lot in the last couple of months and have many new paintings created in a time when normally I'm locked in my studio painting larger pieces.
Yesterday, I started the day visiting Graton Gallery outside Sebastapol, CA where they are holding their annual invitational show. I was invited this year and submitted two paintings but had not seen the show yet. While there, I asked for a local place to paint and they steered me to Coleman Valley Rd., just outside Occidental, CA. It meanders through a valley where I discovered a classic whitewashed old ranch house that lit up in the morning sun. I couldn't resist it and pulled over to paint. Beautiful light.
After eating a bit of lunch... I continued on and the road moved up and out of the valley to the ridgeline that meandered out to the Sea. Along the way I was stopped by the CHP to wait for a film crew that was making a commercial with a bicyclist riding along the road. After they let me pass, I found a spot on the hilltop overlooking an enormous valley that went down to the ocean. The late light was just starting to turn colors, so I did my block in and continued to add color and light while the sun dropped lower in the sky. Loved the spot and the painting.
Reflecting on this magnificent day, I felt a deep connection with painting and the land... I felt alive and blessed and wanted to share this.
Friday, September 30, 2011
This past September 23-25 the Bay Area Chapter of the California Art Club hosted the third annual Limantour Retreat… an event that is eagerly anticipated and unanimously appreciated.
Friday morning the earlybirds converged on Limantour Beach for the first day of painting. After a light morning fog burned off we were treated to one of those perfect fall days. Christin painted from the hillside overlooking the Estero and I painted from the edge of the parking lot looking south toward a distant tree line and the cliffs beyond. I then joined her above the estero for another. We both came away with a few gems. The tide moves quite quickly there so the meandering channels through the pickle weed marsh alter while you paint. I’ve learned over the years of painting there that you need to put down your water at the beginning so you don’t have to keep chasing the changing patterns. At 4pm we went back to the Hostel for check-in. Cars were lined up waiting to be admitted so that those who needed a lower bunk for various reasons could get first shot at them. I don’t think it has ever been a problem, but people seem to be quite determined to claim them since we don’t reserve spots in advance. Everyone brought an enormous amount of food for Friday’s pot-luck dinner and we all sat around the comfy living room getting to know each other better. Debbie Gualco brought a DVD of Morgan Weistling painting a portrait… and this kept a whole bunch of people enthralled.
Saturday morning was socked in with fog. We all shared a yummy Bagel and salmon breakfast and then trooped out to Drake’s Beach where we had a planned paint-out. Many stayed and some went to other areas of Point Reyes in search of some sun… but I’m not sure they found any. Those who stayed, spread out on the beach and hills to paint the surf and dramatic cliffs. At 4pm about 30 of us gathered and set out our paintings on the café picnic tables. It was impressive… such good work. Kay Young was awarded the artist’s choice award and received a set of Sennelier oils for her little square painting of the surf painted on a silver-leaf panel. Will Maller captured second with another loosely interpreted surf painting. Back at the Hostel, after a dinner of leftovers and such, some of us took a walk in the dark down the trail toward the beach. Later some of us went up to the upper dorm and we held an impromptu portrait session. Christin sat with a guitar for the nine painters and we had lots of laughs.
Sunday morning we were greeted by unseasonable rain… so instead of laying out all of our weekends paints on the patio, we went to the upper dorm again and set everything there. Pretty amazing how many paintings were created and such good work.
It’s not often that painters can gather for fun. It’s usually for a high-pressure event or workshop educational gathering… but at the Limantour retreat, we simply paint and get to know other painters better. It sure is fun and I look forward to next year!