PREPARING FOR MALLORCA - Drawing With Nature

SEED POD ON TREE IN LA RIOJA

DRIED SEED POD - READY TO DRAW

 

THE OLD OLIVE TREE

 

THE APPLE TREE

At the beginning of our stay in Spain we were on a day trip with the school, hiking in the autumn woods with a group of school children. We stopped at one of the the park buildings and I found seed pods from this tree on the ground. I saved them. When they were dried I thought they might make a good drawing tool, and they did! We lived a couple of blocks from  the Parque del Ebro along the river in Logroño so in the spring, when the sun finally appeared, I would go there and draw the old trees. It was an unexpected pleasure!

 Here is a photo from a recent show where I included all the drawings, along with antique prints of trees done by artists who accompanied the survey expeditions from the 1800's. Both of us discovering and drawing trees!

TREE SURVEY, an installation of eleven ink drawings on paper and ten antique engravings

And lastly, a photograph that has been hanging in my studio for many years.

This is Brice Marden making beautiful organic line drawings with a tree branch!

   

 

 

 

 

PREPARING FOR MALLORCA - Black and White

EATING ORANGES IN THE GARDEN, ALCAZAR, SEVILLE, SPAIN

 IN ESTELA, NORTHERN SPAIN

 ALONG THE GUADLAQUIVIR RIVER IN SEVILLE

 AT THE ALCAZAR, SEVILLE

TWO VIEWS OF CADIZ

At my workshop at Ghost Ranch in Abiquiu, New Mexico, we paint the first day in black and white.

It's a good way to acclimate and become acquainted with a new environment. I thought of this when we were planning a ten day trip to the south of Spain in 2012. I knew we would be tourists wanting to see the sights and not have a lot of time for painting so I packed a tube of black watercolor, a couple of brushes and a small block of paper. I enjoyed painting the man in the garden, perhaps we can get someone who is not painting to sit and read a book, pose for us.

In addition to capturing the new scene in front of you, drawing, with brush or pencil, is a way to make marks and patterns that can create a new language that says something about the landscape.

Google images of Van Gogh's drawings with a reed pen and ink.

More about this in my next post.

 

PREPARING FOR MALLORCA - Small, Medium and Large

How do you make large work when you are traveling and have to carry it back in your suitcase?

Here are a couple of suggestions for going from small to large that are also very process oriented.

View from Horsefly Mesa by Raoul Anchondo, mixed media, 50" x 70"

The artist used thirteen pieces of paper, from 9" x 11" to 28" x 40" (upper left), then

mounted them together afterwards. This was not planned beforehand but happened during the drawing process when he realized he wanted to expand it to include more of the landscape.

Field (MacDowell) by Dawn Clements, watercolor, 36" x 41"

Lynne Horning sent me a link to Clements' website. You can see from this watercolor that she is working on folded paper. I am not sure if she folds it first or after. I have heard about other artists doing this but in a different way. They work on the paper while it is folded up and in the end have a large composition (or not a composition) of different drawings all together. This is another method that is process oriented and is not overly concerned with the final outcome

   

Yagul by Meredith Nemirov, watercolor, 10" x 18"

When traveling I like to bring some pre-cut accordion folded watercolor paper. Sometimes I work in a linear fashion, left to right, other times I start in the middle. I end up with a more panoramic view of the landscape but also a variety of smaller studies on each folded section. I wonder how it would work if it was a vertical orientation?

Yagul, left section

Aspen Studies, watercolor, 9" x 20"

This one presents four different observations or ideas of looking at the trees. 

Take a look at the series, In The Garden, that Jennifer Bartlett did in the 1980's when she 
spent the winter in St. Tropez, France. She decided to work on one size of paper only,
but used a large variety of mediums to interpret the same subject. 
www.locksgallery.com/exhibitions/jennifer-bartlett2 

 

Painting The Pedernal

Last month a group of painters spent a week together at the Ghost Ranch in Abiquiu, NM.

It was to mark the 10th anniversary of painting there every autumn and to celebrate the landscape

that survives and lives in all of us in times of distress and trouble.

Connect to the tradition. Take a deep breathe and

PAINT IT, DRAW IT, WRITE IT, DANCE, IN IT, WALK AROUND IN IT!

INFORMATION ABOUT THE  PAINTINGS - top to bottom

SIZES ARE APPROXIMATE

JOHANNA HILL - ACRYLIC ON PAPER, 10" X 12"

MEREDITH NEMIROV - OIL ON CANVAS, 10" X 30"

ANN DETTMER - OIL ON CANVAS, 11' X 14"

JULIA REID - OIL ON CANVAS, 11" X 14

LYNNE HORNING - OIL ON YUPO PAPER 
SHARON NEMIROV - WATERCOLOR, W/C PENCIL ON GESSOED PAPER, 6" X 11"
PEGGY SUE RICHARDS - WATERCOLOR - 11" X 15"
CAROL LEE - WATERCOLOR - 7" X 21"
RANDYE MANDELL - OIL ON CANVAS - 10" X 30"
JOSEPHINE FALLENIUS - OIL ON CANVAS - 18" X 24"
 

LAST LEAVES AUTUMN 2015 - COLORADO

 RIDGWAY HILL, view from the backyard, 10/11/15, 11" x 15"

VIEW FROM THE SILESCA CABIN, Uncompahgre Plateau, 10/7/15, 14.5" x 21.5"

 

 FROM THE GOTHIC ROAD, Crested Butte, 9/25/15, 7" x 21"

THE WILSONS, Telluride, 10/1/15, 7" x 21"

Last year I posted LAST LEAVES OF AUTUMN, COLORADO/NEW MEXICO.

This year I am posting before my week in New Mexico. Just on-site watercolors

of my Colorado landscape! What a glorious and extremely warm fall, way into the middle of

October!  

PAINTING THE RUNOFF

 ALONG THE UNCOMPAHGRE, 6/24/15

"When the stream of water is running, there is no regular rhythm but the stream is doing the 

  same thing all the time."   Arthur Dove 
 

 A SPOT ALONG THE SAN MIGUEL RIVER, 6/17/15

 EARLY SPRING, 4/14/15

CASCADE FALLS, OURAY,  6/30/15

The best way I know to paint moving water is not to paint, but to start by sitting and watching what the water is doing, for 15-30 minutes.  What I mean by what it is doing is to see what shapes the water makes when it splashes OVER a rock as opposed to going AROUND a rock. Love Dove mentions, those shapes keep repeating as the water follow it's course.

You can see these original watercolors at the Oh Be Joyful Gallery in Telluride. www.ohbejoyfulgallery.com

The Winter Woods

 Winter trees in the winter woods, aspens, lyrical,
trunks growing out of mounds of white snow
the quiet

 black marks become notes on a musical score, moving from sharp to flat
in the introspective season of winter as they lean towards each other
to speak of cold 

In the studio, a need to animate
the spaces deep in the woods
between the trees and branches
something man-made, a
human presence through a
pattern
geometric / organic

patterns in nature