Two Pastel Landscape Painting Books (Review and Notes)
Here are my notes from two well established landscape painters in pastel.
Here are my notes from two well established landscape painters in pastel.
While I painted these five pastel paintings, our daughter stitched together a complex necklace of seed beads.
It was fun to paint again, to try and capture a bit of this beautiful place.
These are the plein air paintings I did while in Nova Scotia. They are stylized on purpose, if you are curious, but the colors really are not exaggerated.
We visit Sand Beach and Thunder Hole, painting at both.
I took this three day plein air workshop taught by Lyn Asselta. It was sponsored by the Connecticut Pastel Society…
I was intrigued by the dramatic shadow patterns in the grass, by the feathery new leaves, and the frothiness of the distant trees. It was an image the spoke to me of the spring transition, its stark lighting, together with tender new grass and unfurling leaves.
I have frequented this lovely spot for decades but never painted it before.
I love being surrounded by the trees right now, each one a kaleidoscope of color, done by the hand of the master pointillist!
I enjoyed painting this on location on Chaffinch Island in Connecticut with a limited palette.
A powerhouse group, their advice was gentle and encouraging, freeing and supportive, and blissfully without prescription. If I taught, this is the way I would teach.
Since it was foggy during the workshop, I did not paint any grand vistas as I expected, but instead focused on these two unique apple trees, whose shapes intrigued me.
– This is the largest pastel plein air painting I have ever done, but I knew the view was huge, so I went for it. Painting large on location is fun as long as there is not a wind. This day was hot, humid, and still so it worked great, although I cowered in the … Read more
I really enjoyed painting on location in this lovely setting on Echo Lake Beach in Acadia National Park in Maine.
The paint above was done from Chaffinch Island in Guilford, Connecticut. I was attracted the the intensely vibrant greens in the marsh grasses there.
He is trying to get us to paint quicker and to be “less precious” about it, trying different things. Masters, he says, are merely those who fail more than others have even tried.
Here is the painting I did this week of a crabapple tree about a block from our house captured in the evening’s glowing light.