Paintings of France, Italy and Beyond

Check out my new blog

2006-08-01T16:41:00.000-05:00

Just an announcement that I've set up a new blog on my own domain at www.jenniferyoung.com/blog . Please update your bookmarks, or, if you have been following my blog through a subscription, please update your subscriptions:

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As of today all of my posts are at the new location but I am still formatting my links and fine-tuning the content. I haven't yet linked my new blog to the rest of my site, but I'll be working on that tonight.

Jennifer Young; Vibrant Landscapes
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Blogging woes

2006-07-28T09:20:00.000-05:00

Well, after at least a month of not being able to post pictures except through a time-consuming workaround, I have decided to search for another place to blog. Once I get my new location set up I will post it here (unless I am somehow prevented from doing so). In any event, my new blog will be linked from my website, so it will be easy to find, once I have everything in place.

Jennifer Young; Vibrant Landscapes
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Creativity

2006-07-25T10:13:00.000-05:00

I thought I'd write a little bit about creativity today since it has been on my mind a lot lately. Often times people will equate creativity with "production". But for me, a lot of things go on "below the surface" that I would equate with creativity, even if there is not a lot being produced as a result.

Right now I am involved in a lot of experimentation and exploration that doesn't necessarily result in a finished painting or drawing. It's possible that some of these "experiments" may find their way here on my blog if I feel particularly happy about them and want to share, but the real point is to always explore new ways to grow.

Sometimes I go through periods of high production followed by things taken at a much slower pace. I pay attention whenever I reach a certain comfort level with my work. Comfort can be a good thing--a really nice and in the flow feeling. But sometimes I feel so comfortable that it makes me downright uncomfortable, if that makes any sense! That is when I know it is time to regroup, branch out, take a break, experiment, or do a little bit of all of the above.

For example, today I have drawn out a new painting of Tuscany. I've also got an abstract painting underway. Who knows where that will lead me? And "on the side" I've been painting lamps and furniture, just for fun (and because I need some lamps and furniture!) Now I know that there are some art marketing gurus out there who may not like me doing so many different things. You should focus on one thing and do it well! I have heard that over and over again, and I can be, and have been a pretty good focuser. I do believe it is important for artists to develop their voice and a strong body of work. But I also know the value of experimentation, just for the sake of exploration.

So I'm playing with landscapes and different mediums. I'm playing with non-objective artwork. Temperatures have been in the high nineties here lately so not much playing en plein air, but when the weather breaks I'll probably play with that too. And I'm playing with furniture. Since the lamps are the only things I have pictures of right now, I'll post those here:

These were old seventies olive green lamps (the "old" olive, not the "new olive") that were tinted with bronze and had those brown speckles in them that you see in a lot of decor from this time period. I had a "before" picture of them somewhere, but I can't find it. I bought these at a yard sale ($5 for the pair) and painted them a metallic turquoise to match my turquoise pillows. I also applied a silver leaf to the base of the lamps and bought simple linen shades (since I figured there was enough going on with the lamps!) They may be a little too "Liberace" for some folks but I LOVE my lamps! Here is a close up:

The landscape shown in this photo is one I did of a Key West scene. I really need a larger painting to go here, but the colors were right so it will do for now (until it sells or I make a new painting ;-))

Jennifer Young; Vibrant Landscapes
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View from the Villa Monestero

2006-07-12T12:37:00.000-05:00

On another day at Lake Como we ventured out to another lakeside village called Varenna. Varenna is super charming; with very narrow streets and teetering stairways:

We actually considered staying in Varenna, but opted instead for Bellagio. In hindsight, Varenna would have probably been almost as good a choice, but Bellagio won out for me because it seemed to be somewhat sunnier and had more of an open feeling to it. I honestly don't think we could've gone wrong in either place though.

In keeping with the theme of this trip, in Varenna we did a TON of walking. One of the most beautiful places we visited was Villa Monestero. This villa used to be a convent but is now open for conferences and classes, and the gardens are open to the public. We spent a good deal of time checking out the gardens, which had an amazing array of plants and trees:

Here's Dave at the start of our tour:

This is a painting I completed of a scene we admired that day. This is a view looking out from the lakeside garden promenade. It's called "Lakeside View" and measures 24x30".

You can find out more about this painting by visiting the Italian landscapes section of my website.

Jennifer Young; Vibrant Landscapes
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Evening Shadows on Pescallo

2006-07-02T13:44:00.000-05:00

That same evening after touring the beautiful villa, we walked back down to Pescallo and made a reservation for dinner at a local restaurant called La Pergola. It had outdoor seating (under a pergola!) that overlooked the lake and mountains. We were perched right over the water as we ate fresh lake fish, pasta, and vegetables cooked simply but with perfect finesse.

One of the most beautiful things about this area to me was the way the light played across the mountains and the water. As we ate, I kept looking at the evening light on the mountains and I observed such dazzling transformations. Every time I looked at them they would look totally different. "Look at them now!" I'd say to Dave. "Look at them now!" (to the point of being quite annoying, I'm sure.)

This painting is one I just completed using my photos, sketches, and notes from that evening. It is a canvas measuring 24x30" and is called "Evening Shadows on Pescallo".

Jennifer Young; Vibrant Landscapes
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More about the Bellagio trip

2006-06-20T14:21:00.000-05:00

As I mentioned, Lake Como was awash with beautiful lake front villas. In Bellagio there are two villas that have opened their gardens to the public. On our second day in Bellagio, we decided to stay in town and visit one of the them, Villa Melzi. Villa Melzi was owned by the Vice President of the Italian Republic under Napoleon.

The main house is closed, as it is a private residence, but visitors can still roam the stunning gardens, plus visit a small museum and chapel. The azaleas were finishing up when we were there in early June, but the gardens were still ablaze with all kinds of color and a beautiful variety of gorgeous trees. This is a painting I just completed of a gazebo in the gardens that sits right at the edge of the lake. It measures 24" high by 20" wide.

Jennifer Young; Vibrant Landscapes
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Bellagio Trip Report, cont'd

2006-06-16T13:04:00.000-05:00

One of the nicest things about our room was that it looked out over an old fishing village called Pescallo. From where we sat we could see the rooftops and the fishing boats sitting on the glassy water. It was a beautiful scene from above, so I imagined that it would even be more beautiful up close!

The day after our arrival we followed a very long narrow, sloped stairway (a little street- Bellagio style) that led to the village of Pescallo.

It is my understanding that at one time Pescallo was the location where they held an open air fish market. Today it is a quaint, sleepy little lakeside town. We went down there several times to sketch and just contemplate the beauty and peacefulness of the place.

On two different occasions I was fortunate enough to meet a couple of the elderly villagers who were living out their golden years in Pescallo. They were so gracious and kind- and patient! They urged me to speak in my broken Italian and just smiled as I undoubtedly butchered their beautiful language.

Jennifer Young; Vibrant Landscapes
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Back from Lake Como

2006-06-15T07:51:00.000-05:00

I have been back for a couple of days and it was a marvelous trip! I'm not holding out on telling about it; I have plans to discuss my trip here on my blog. Unfortunately this blogging program has been unable to post my pictures for weeks now. Apparently this is a problem with other users on this system too. Very frustrating. Hopefully this problem will resolve itself soon. Otherwise I may need to look elsewhere for a more permanent solution. It would be a pain to have to move everything to a different site, but what is an Art Blog without pictures??

To be continued....

Jennifer Young; Vibrant Landscapes
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Bellagio Trip Report

2006-06-14T12:16:00.000-05:00

Well I've discovered a workaround to the picture posting problem, so on with the show:

What a magnificent trip! Arrived home a couple of days ago, but the jet lag hit me a bit harder this time. Still not feeling entirely "on my game", but it was worth the spent energy to be sure! I thought I'd share some of my wonderful experiences about our trip here on the blog, since for me, travel is such a huge part of what inspires me as a painter.

We based ourselves in the village of Bellagio, which is a beautifully situated hillside lake town that looks out over the three arms of Lake Como. If you look at the lake from an ariel viewpoint, it's shape forms an inverted "Y". Bellagio sits right in the middle of that Y, and it is truly the jewel of the lake.

The only difficulty with staying in Bellagio, for us, was getting there without a car. Even with the super-efficient public transportation systems in Italy, there is no direct route to this town. If one has a car (and arguably a lot of nerve), one can drive along the very winding roads and into the village of Bellagio itself. But we opted to be without a car for this trip, since the ferry systems, once there, are excellent. Also the streets in the village are tiny; in some places barely fitting one car, side mirror to side mirror!

So our route was to fly into Malpensa airport (outside of Milan) and then to take the Malpensa express train, change in Saronno (the town famous only because they make the Saronno amaretto cookies) and then arrive in Como. From Como we then took the "rapido" ferry to Bellagio. Even with all of that we still ended up arriving in Bellagio fairly early- around 12:30 local time.

Our hotel pick was Hotel Belvedere, which is situated on a hill at the top of the village. I was initially worried about it being too high up and too far out of reach from the center, but Bellagio is so small that there was no reason for such worries. My only word of caution for those of you who do not pack light, is that Bellagio is a hill town and some of it's "streets" are actually long flights of stairs. In order to get to the hotel from the pier where you are delivered by ferry, you have to either get a cab or lug your luggage up these steep streets.

We opted for the lugging, as we only had two carry on bags and purse and backpack. This way of packing is new to me, and frankly it was a miracle compared to how I have traveled before. But with a week-long trip, it was totally do-able, and I was incredibly grateful on the train, ferry, and stairs!

We were rewarded for our climb with a lovely hotel and a room with a marvelous view and balcony. We both really loved having the balcony. I would get dressed in the morning and go out and sketch and paint, and then Dave would have his time to perform his morning routine before going down for breakfast.

...No, we weren't drinking wine before breakfast! This photo was taken in the early evening before dinner, which was actually the best time to paint because I was completely in the shade. There were a few interesting views from our balcony. This little watercolor sketch is a view looking out to the left side of our balcony, over a marvelous terraced landscape. It is small- 6x8", pen & ink/ watercolor:

Jennifer Young; Vibrant Landscapes
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Leaving for Lake Como Today

2006-06-03T06:39:00.000-05:00

Today is the day! We will be heading out shortly for a most beautiful Italian destination. I plan to do some painting while I am there, but since we are going to be going to a lot of different little lake towns, I've decided to carry a minimum supply of art materials. I'd love to bring oils when I can stay for a longer period, but this trip I will bring my travel watercolor set, similar to the one shown here, (except mine has alot more pull-out palette space). In addition to the pan colors, I'm bringing a small selection of Windsor & Newton professional grade artists' colors in tubes.

Other supplies:

cotton rag
small selection of brushes
watercolor journal
watercolor papers
tape
small painting board
waterproof ink drawing pens
pencils, HB graphite and softer
eraser
sketch pad

Almost all of these supplies, plus my camera can fit in my big black tote (the same I took on my last trip to Italy). I am having trouble uploading images to the blog today, but you can see the bag in this picture. I couldn't fit my folding stool in my carry-on luggage, so I will just have to wing it and hope I can paint in areas where I'll be able to have a seat somewhere.

No blogging while we're gone, but I plan to post some pictures when we return. Ci vediamo!

Jennifer Young; Vibrant Landscapes
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Countdown to Lake Como

2006-05-31T19:25:00.000-05:00

I have been so busy lately getting ready for the Atlanta art show and attending to some home and family matters that I find it hard to believe I will be in Italy in 3 days! On Saturday we will leave for a fabulous trip to visit the lovely hill towns of Lake Como. I will bring my paints and do my best to record my impressions of the splendor that will surround me.

Lake Como is the deepest lake in all of Italy. In terms of its expanse, however, it is the third largest, following Lakes Garda and Maggiore. The lake, framed by a ring of pre-alpine mountains, is blessed with beautiful Mediterranean flora and formal gardens, deep azure water, and gorgeous villas along its shoreline. It is no wonder that it was a magnet for the nobility of Lombardy ever since the 18th century.

There are numerous and frequent boat services that link the lake towns to one another, and this is how we plan to navigate the area. This area is known for its magnificent villas and gardens. It is a veritable dream come true for the landscape painter! I know I say that about a lot of places, but anyone who has seen pictures of this place knows in an instant that it is hard to beat in terms of beauty.

My task in the days ahead will be to try and pack all of my personal items into one carry-on bag, and my all of my art supplies into a satchel if possible.

Jennifer Young; Vibrant Landscapes
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Southern Landscape Show

2006-05-30T07:33:00.000-05:00

I spent the early part of last week preparing for a "Southern Landscape" show that will be opening soon in Atlanta. The gallery is a beautiful new gallery called Huff Harrington Fine Art. They will feature my work alongside a number of other landscape artists during the month of June. If you happen to be near the area, here are the details:

The Southern Landscape show runs from June 23rd to July 29th. The gallery is located at 4240 Rickenbacker Drive, Atlanta, GA 30342. Please call the gallery at 404.257.0511 for directions and additional information.

Jennifer Young; Vibrant Landscapes
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Beach Sunrise

2006-05-19T13:35:00.000-05:00

Today I finished a painting of a sunrise scene from last summer when I stayed at the beach in Nags Head North Carolina. For some reason I was intent on seeing the sunrise while we were there. We saw a number of gorgeous sunsets in the evenings but the sun sets over the sound and the sun rises over the ocean. So I nagged my husband to get up with me one morning and catch the sunrise over the ocean. Why I couldn't go alone is beyond me now; but for some reason, he HAD to come. Unfortunately in my exuberance we were about an hour early, so my romantic vision of togetherness under the morning sun soon turned to sitting on the beach in the dark and listening to Dave grumble and shuffle around, trying to find a spot to lie down and finish his night's sleep.

Eventually, however, we were rewarded with a beautiful soft misty sunrise over the clouds. Here is the painting inspired by that morning:

I painted this scene with a limited palette (alizarin crimson, cadmium yellow pale, ultramarine blue, and pthalo green, plus white.) This is a scene that called for using a lot of "colored grays". Colors that may even read as "mud" in other paintings, created the soft, barely there light that I was going for. At first I thought I'd have to dip into my arsenal of more vivid colors (like permanent rose and cadmium orange) to get the sunrise effect, but because so much of the painting is muted and soft, my crimson and yellow mixtures really popped. My favorite part of this scene is the way the light skips across the water.

I painted this little study en plein air, and since that time I have been wanting to create something similar, but larger and more dynamic.

I used a very limited palette on this one too, mainly because I was under such limited time constraints and didn't have time to squeeze out a bunch of tube colors. One thing I learned from this little painting is that when painting sun/sky paintings on location you really need to keep your brushes and turpentine clean. You also need to paint extremely fast. Screaming at the changing light doesn't really help, but it may possibly make you feel better.

Jennifer Young; Vibrant Landscapes
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Two new marsh paintings

2006-05-16T09:46:00.000-05:00

Here are two new water paintings I've just finished. These are scenes of St. Simons Island, Georgia, where I've visited a few times to paint en plein air. These are larger works though, so I did them in the studio:

"As Evening Falls", 30x36", oil on canvas

"Cloud Reflections", 30x40", oil on canvas

Additional information about these two paintings is available in the southern landscapes section of my website.

Jennifer Young; Vibrant Landscapes
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Traveling with oil paints

2006-05-15T12:09:00.000-05:00

From time to time I receive emails from other artists asking questions, and I thought it might be fun to try and post responses on my blog (the idea being that if there is one person asking, there may be more wondering also.)

Here's the question:

I am traveling to Tuscany in June, 2007 to paint for 2 weeks. I have always used either pastels or watercolors, but this time I plan to bring oils. What paints and mediums do you bring and how do you pack them for the airlines? I don't want my stuff held back! Thanks for your help, S.P.

Ever since the tightening of the airline regulations, I have battled with this same question. When I last painted in oils overseas, my solution was to pack my easel as a carry-on and everything else (brushes, panels, palette knife, empty containers for mediums, etc.) went into the suitcase clearly labeled as artist materials. I did not pack my paints, mediums, or solvents, however. Instead, I did a bit of inquiring prior to travel to find out if there were any art stores in the vicinity of my destination. Fortunately there were and I bought my paints, mediums and solvents overseas.

Shopping for art supplies overseas can be a lot of fun. There are things that are familiar and also some wonderful products that I hadn't had the opportunity of seeing before. I felt like a kid in a candy shop and I actually ended up delighted with my purchases. I found Rembrandt oil colors in tube sizes I hadn't seen in the U.S. They were small enough to make my load a little lighter, but large enough to last me the two weeks of my stay. When I was in France, I found that the art stores only had small, expensive containers of paint thinner, so I learned how to say "turpentine" in French, and then asked for it at a hardware store. So, it can really be a fun adventure if you're up for it. However, if you are limited on time, you may prefer to just take the chance and carry your paints overseas. With that in mind, I am including a couple of articles that do a good job of addressing some of the issues that might arise:

Advice from the Gamblin Website

Advice from Pochade.com

p.s. If you do decide to shop for supplies at your destination, keep in mind that European countries use the metric system, so their canvas sizes will differ from what our "standard" sizes are in the U.S. This is not an issue if you don't frame your work, but if you use only standard size frames, this will be a matter of concern.

Jennifer Young; Vibrant Landscapes
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Red Canvases

2006-05-07T09:11:00.000-05:00

Since I put my first painting demonstration up on my website a couple of years ago, I have had a number of people ask me about the red toned canvas I used.

That demo is a couple of years old. I should probably update that section of my site and add some newer demonstrations, but I just haven't had the time. I used to underpaint many of my landscapes with red (not architectural scenes, however). I rarely do this any more, except when I do my little minis. I used to feel some comfort in having something down on canvas besides the blank whiteness, and the red underpainting was kind of fun. But after a while I found it took too much time to apply the undercoat and I spent a lot of time trying to cover it up in the passages where I wanted it to be cool (such as in areas of far distance.) I think that the reason it still works on the little paintings is that the red undertone does make the colors pop, but with such a small surface I do not need to labor on covering it up for my cool distances.

I will still often tone my canvases with a rather opaque, neutral gray or a warm beige (a tone of raw sienna thinned and scrubbed in a translucent manner over the white of the canvas) when I paint out of doors. The neutral tone of the canvas reduces the bright glare. In the photo below you can see one of my gray-toned panels underneath the plain white ones.

Ideally your palette color should match the color of your canvas for accurate color mixing. In the studio I have a white palette and paint on white canvases. But outdoors my palette is either wood color or a neutral grey. It is not a "must" to match canvas and palette, but it does help to predict what the mixed color will look like when it's laid down on the canvas.

Jennifer Young; Vibrant Landscapes
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Thoughts on Cezanne in Provence

2006-05-05T06:55:00.000-05:00

This week I took an out of town trip up to Washington D.C. with a friend to catch the Cezanne landscape exhibit. It was the last week that the show was on view and I am SO glad I had a chance to see it! It was a magnificent representation of his work, with galleries that seemed to go on and on. The show was devoted primarily to his landscapes but also included portraits, some still life, and his Bather series.

Having seen (and been in awe of) his many still life paintings in previous exhibitions, the landscapes are what held my attention the most. I must say that no photo reproduction I've see does justice to his work. It was exciting to see the transition his paintings made when he began painting outside. His landscapes seemed completley transformed; going from heavy tonalist works to paintings full of light and color. But what was most striking to me was the incredible structure most of his paintings had. Many of his paintings were done from odd and unique perspectives, and his subject matter and compositional choices were not always typical of what the landscape painter might choose. And yet he had a way for line and composition that made the structure of his paintings feel almost sculputural.

Cezanne was interested in the formal elements of painting, and not really concerned with painting beautiful scenes, per se. For instance his paintings of the coast of L'Estaque did not depict an idealized harbor. Instead he chose to include an industrialized view of the smokestacks along the coast. He also did a number of paintings of the red rock quarries, which to me felt especially exploratory, as this subject lent itself very well to exploring his near cubist abstractions.

And yet there were so many paintings in that show that I found to be incredibly beautiful, both in the the choice of the subject and the handling of it. In particular the paintings of the countryside close to his home near Aix were so lovely. In addition to the well-known Mt. Saint Victoire series, there were many paintings of the rocky hillside villages and crumbling old farmhouses. In any event, I got the sense that he was always experimenting, exploring; perhaps sometimes frustrated (?), but never bored.

Cezanne had a light, feathery touch, and many of his oils were handled in a way that to me felt almost like watercolors. He had a masterful knowledge of color, though he used it in a subtle way. His greens were some of the richest I've seen, and within their shadows were hints of rose, blue, violet and lavender.

There was also an entire room devoted to his watercolors and drawings. These were light, sketchy things, but within them I could see the seeds of Modernism and the inspiration for the Cubists still to come.

It was our intention that day to catch the Cezanne show and then head over to the Phillips Collection in Dupont Circle to see the Degas and the Renior show. But we both agreed that we wanted some time to just absorb all of the great Cezannes we had just taken in. It's kind of like eating a meal. If it is a great one, you want time to just sit with the delicious experience before you move on to desert. And if it truly is great, maybe you don't even need desert at all!

Jennifer Young; Vibrant Landscapes
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Painting in the mountains- continued

2006-04-28T10:24:00.000-05:00

On that same mountain excursion I went back again to the beautiful orchard I had attempted capturing on that first afternoon. This time I selected a different view for my 9x12" canvas, using a great red barn as a focal point. I'm very happy with the way this one developed:

If I make any adjustments, they will be very little. I love this scene so much I decided to do a larger version in the studio. Here it is, still in the "blocking in" stage, using my little plein air as a reference:

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Painting in the mountains- day two

2006-04-25T15:29:00.000-05:00

The following morning is bright and beautiful. I decided to start out after breakfast by painting a little vignette right on the grounds where I was staying. I noticed a little whitewashed garden shed, (which I am told used to be a chicken coop) because it had some nice light and cast shadows from a neighboring tree. The light is soft and dewy and so this is the feeling I'd be going for. One thing I've learned from trial and error is to try and think in big shapes first. It is a good idea to lay in your darkest darks and lightest lights first, to help key the rest of the painting. With this subject and the small size of my canvas, that is a relatively easy task. Here is my little canvas, measuring 10"x8".

*Tip: I pretty much never use white paint directly out of the tube. It is too stark and too cool, even if the local color actually is white. The temperature of the light and the reflected light from other elements in the picture will effect the local color. Here I mix a tiny, tiny dab of cad. yellow and cad. red in with the white ( a little goes a long way) to warm it up a bit.

*Tip: There were other buildings behind this little "chicken coop" that I could see in the background, but the only thing that really interested me was the clothesline, so that's all I included. I don't put in everything I see, just because it's there! My highest priority is to make an interesting painting, and the other buildings in the distance on such a small canvas would have just distracted from my center of interest.

Jennifer Young; Vibrant Landscapes
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Painting in the mountains- first evening

2006-04-24T13:41:00.000-05:00

I got spring fever last week, and while I think the area where I live in Richmond is beautiful, I go the hankering for some wide open spaces and mountainous vistas. I took a chance that the break in the weather would hold by planning a little trip to the mountains for a few nights. The cabin where I stayed is located near Charlottesville, VA, so it is only a little over an hour from my home.

I arrive in the afternoon to find the cabin situated in the countryside with redbuds, dogwoods, azaleas, wisteria, and lilac still blooming. Needless to say, it is a beautiful area! The property sits among rolling hills, and is bordered by a pasture full of grazing cattle. Upon my arrival at the cabin, I see one of the proprietors busy mowing the grass. Judging by the size of the property, this appears to be at least a half-day affair, so I decide to take the car and explore the area a bit more.

Hooray! I have found a great spot to paint! It is a nearby park with a beautiful apple orchard next to it. There are still blossoms on the trees, and I'm excited because I can set up directly across from the orchard on park property. By this time it is about 4:30 p.m. and my thought is that there should still be plenty of light for a couple of hours, so I took out a 12x16" panel and set to work. I guess I was a bit too ambitious for the first go. 12x16" is admittedly a small painting if you are working under consistent lighting conditions. But it suddenly seemed huge to me, especially in the rapidly changing light.

The light changed sooo fast. I have been used to the morning light, which also, in fact, changes pretty quickly, but this was super quick because the sun was steadily going down behind the mountains even before sunset. I barely got my canvas covered before the dramatic light and shadows on the mountains went completely flat and dull. I did take photos, and thought, well, I can finish it in the studio or perhaps on the field on the following day. Here is a picture of the painting in its incomplete form:

*Tip: I highly recommend sticking to a smaller canvas to start (no larger than 11x14) if you are just getting started painting en plein air, or if you are painting in rapidly changing light conditions. Pochades are excellent sizes to capture scenes quickly and loosely. The aim for me is to capture the light conditions of that particular moment in time, as a scene can look very different at different times of day and under different weather conditions.

You can always work on a larger painting in the studio using your plein air reference if you want to make it bigger later. Of course if you really feel like you want to do a big painting, have at it, especially if you know you can return again and again at the same time of day until you complete it. As it is for me when traveling, I usually get just one shot to get it down. It is far better to have small victories that accurately capture the light, than larger canvases that are incomplete and leave me wanting.

I will post some additional pictures from my plein air painting mountain trip in future entries, so stay tuned!

Jennifer Young; Vibrant Landscapes
www.jenniferyoung.com
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Painting in the mountains for a few days

2006-04-18T16:44:00.000-05:00

I'm heading out for a few days to do some plein air painting in the mountains. The weather is looking promising so I thought I'd go for it while the dogwoods are still going strong. I'll be staying in a cabin with only dial up internet access in the proprietor's main house. So needless to say I doubt I'll be blogging while I'm gone. Will bring the laptop though and continue to journal in the evenings so that I can post entries when I return.

Jennifer Young; Vibrant Landscapes
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Two more reasons to go to DC

2006-04-17T12:53:00.000-05:00

The other day I mentioned a Cezanne exhibit nearing its close at the National Gallery in Washington D.C. Now, here are two more wonderful exhibits that appear to overlap this show:

Degas, Sickert and Toulouse-Lautrec: London and Paris, 1870–1910. This show focuses on the creative dialogue between the French and British artist and their contemporaries during the turn of the century. According to the Phillips Collection website the show arrived "directly from Tate Britain in London, the exhibition includes over 100 works—many never before on public view." The show closes on May 18th, 2006.

The Renoir Returns: A Celebration of Masterworks at The Phillips Collection
April 15–July 30, 2006.
"The Renoir" they are referring to is one of my all-time favorite Renoirs, "The Luncheon of the Boating Party". In celebration of its return from an extended loan, the Phillps is putting on a special exhibition from its collection that features this painting but also includes Bonnard, Cézanne, Degas, Gauguin, Gogh, Kandinsky, Matisse, Monet, Picasso and others.

I wonder if I can see them all in one road trip? Or is that overkill? My head just might explode or something.

Oh, and upcoming shows at the Phillips seem equally enthralling to me, including one on Paul Klee this year, the Society Anonyme in '07, and Impressionists by the Sea in '08. (Woo-hoo!)

-Jennifer Young; Vibrant Landscapes
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Tags: art painting landscape painting Cezanne artist Provence Degas Renoir Impressionists impressionism

Pochade box

2006-04-13T09:42:00.000-05:00

Clouds and rain have been rolling in, so no plein air these last couple of mornings. I have plenty to do in my studio as I'm getting some new work together for a show, so it works out fine.

In the meantime I thought I'd focus this morning's post on my one of my plein air setups. There are TON of options out there for plein air painters--everything from pochade boxes to classic French easels and beyond. Early on I had a full size French easel, but I found it to be too heavy for me, and I hated all of the wingnuts. Inevitably one would end up falling off during transport and without that wingnut to secure the easel leg, you're pretty much out of luck. If I ever did get another French easel, I would probably go for something like the Julian half box which is much lighter weight and not so cumbersome, in my opinion.

I currently work with two plein air setups for oils. One of them, my pochade box, I use quite often. Here is a picture of my pochade box:

I hang a roll of paper towels from a bungee cord on the front handle, and a grocery bag also to hold my spent paper towels. My paints, thinner, and medium store below the sliding palette, and my canvas stores in the lid.

A pochade is a French term meaning "quick sketch" and refers to the color studies that artists would create in the open air often for later reference in the studio. Original pochades were popular with 18th and 19th century landscape painters. They were small "cigar boxes" with hinged lids. Like my pochade box pictured above, the lid served as an area to hold the canvas or panel, and the bottom part of the box was used to store paints and a palette. It was a very simple affair and small enough to hold in your hand, sometimes with the use of a little thumb hole cut into the bottom of the box.

Currently pochade boxes range in sizes from 6x8" to 12x16". Prices for pochade boxes range widely, but if you are handy it is possible to make your own, as the design is really very simple. As for me, I am NOT handy like that!

I bought this little 9x12" pochade box online and I like it quite a lot. It weighs about 5 1/2 pounds, and with optional accessories can hold canvas panels from 6x8" on up to about 16x20". It has a tripod mounting plate on the bottom side to mount onto a camera tripod. My brand is a Bogen Jr. Manfrotto tripod, which is lightweight but sturdy.

I am constantly trying to find ways to compact and lighten my setup, but right now I carry all of my supplies in a large tote bag that I purchased from LL Bean (shown just behind my tripod). It works okay for short distances and for flat areas where you can just strap it onto a rolling luggage cart, but if I'm hiking in the mountains, probably not. In that case, I'd probably benefit from paring things down a bit.

Jennifer Young; Vibrant Landscapes
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Plein air outing (04/11/06)

2006-04-11T06:52:00.000-05:00

I woke up this morning to a perfect, cool spring day so I set out early to do a little plein air painting. I experimented with a very limited palette, which was definitely challenging for me, especially when painting outdoors. My colors were three versions of the primary colors, (yellow red and blue, appearing as cadmium yellow pale, alizarin crimson, and ultramarine blue on my palette) plus white. I also added a fourth paint color, pthalo green, which is a very intense, cool green that can be used to mix a variety of colors beyond just green. My aim is to do some smaller paintings (pochades) as often as I can this spring and summer.

On a sunny day, I find that I can only work on one scene for about two hours a session because beyond that the light has changed too drastically. By staying small I can do studies and cover the canvas within a limited amount of time. Small paintings also require you to paint loosely, as they cannot take a lot of detail unless you use a tiny brush. The whole idea for me though is to paint loosely and sharpen my ability to capture accurate color notes and the light effects in nature, not to render everything in a precise manner.

Here is the resulting 8x10" painting I did:

This is a redbud tree sitting along the banks of a little pond at a park near my house. It is definitely loose, but I will need to practice more with the limited palette as I did not get the contrast in the values, nor the colors quite as vibrant as I would have liked. Even so I think it is worthwhile to experiment with the limited palette as a way of really learning more about color mixing.

I think this is probably about 1 1/2 hrs. worth of work. It may have taken a little less time if some of the park attendants had not come by wanting to chat. It was probably around 10 a.m. by the time I really got into it, and the light moved very quickly. I started out with my easel in full shade and ended with up with my canvas sitting entirely in the glaring sun, which made it hard to see anything. For this reason I decided it was time to pack up. Many people erect an umbrella over their work space to deal with this problem of moving light and shadow. With both the canvas and the palette in the shade, it is easier to see your colors. Dappled light or direct sunlight on the canvas and/or palette makes it very difficult to see and mix anything. I do have an umbrella but I was too lazy to bother with it today. That'll teach me!

I haven't decided if I will do any more with this painting, or if I will just keep it as a reference and as a learning exercise. I don't want to do too much, but I may see if I can push the values (the lights and darks) a little more. In any event, even if some of my plein air paintings never reach the "finished" stage, they are worthwhile for the experience of honing my observation skills.

Jennifer Young; Vibrant Landscapes
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New stuff for my blog

2006-04-10T07:16:00.000-05:00

Posts have been a little more sporadic lately because things have really started to rev up at the studio. I'm preparing to work with two new galleries soon so lots going on trying to get some new pieces under way in between existing commissions.

In the meantime I have done a bit of maintenance on the blog, and have selected a new design that I hope is cleaner in appearance and easier to read. I've also added a new feature for those of you who would like to be notified of blog updates without having to keep checking back in on this blog site.

A while back I mentioned adding an RSS Feed to my blog. RSS feeds are designed to feed new blog entries into a feed reader so that users don't have to go out and visit individual blog sites in order to read what's new. Of course, you need to have a feed reader downloaded to your desktop in order to take advantage of this feature.

Well for those of you who don't care what the heck an RSS feed reader is, this new feature might be a little more appealing. Readers can now choose to be notified by email whenever the blog is updated with new entries. Just look at my signature line at the end of my post, or check over to the right of this screen under the "Links" section. There you will see "Subscribe to my blog by email". If you follow that link, it will take you to "FeedBlitz" which is a service that notifies you of my new blog entry updates. Pretty cool!

Okay, switching the computer geek hat back to the artist's hat again....It is gorgeous here in Richmond, VA. Azaleas are almost at their peak and the dogwoods have blossomed overnight. It is also finally supposed to be warm and sunny this week, so I will be spending mornings painting en plein air. I will be sure to share some of my experiences here on the blog as I go along.

Jennifer Young; Vibrant Landscapes
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Tags: art painting landscape painting artist