- Rex Beanland on First Prize, Federation Of Canadian Artists Gallery, Vancouver
- Rex Beanland on First Prize, Federation Of Canadian Artists Gallery, Vancouver
- Jackolynn Coughlin on First Prize, Federation Of Canadian Artists Gallery, Vancouver
- Margaret McLellan on First Prize, Federation Of Canadian Artists Gallery, Vancouver
- Rex Beanland on First Prize, Federation Of Canadian Artists Gallery, Vancouver
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Author Archives: Rex Beanland
One of my mentors in the art world recently made a statement that no matter what we paint we’re always painting the light. It took me a bit to figure out what that really meant. I believe he meant that no matter what we paint we are always painting that subject in a particular light condition.
I have been thinking about this quite a bit lately, especially in the light of a comment I have heard 2 very well known artists make recently. They both said that if they go out either to paint or to take photographs and there is not bright sun they pack everything up and go home and wait for a day when there is sun. I understand the allure of sunshine. It gives wonderful shadows that are so important to many paintings. The sun also brings out the brightest and purest colours so naturally paintings depicting sunlight are very popular with clients and art lovers.
However, sunshine is only one form of ‘light’ and overcast days, foggy days, night times are all just other forms of light. They are not the absence of light. These other light conditions also have a charm and drama all of their own.
I have chosen some paintings that illustrate other light conditions.
Misty Morning In Shelbourne was done one misty morning in Shelbourne, Ontario. It was a lovely foggy morning and my wife and I sat in the car for 90 minutes while we each recored our own version of the subject. This painting obviously is subdued in colour and values but it still has a charm and is very evocative of that particular morning.
I have just started doing night scenes and I have fallen under their spell. The rich blackness of the night sky sets off all the lights even more dramatically. This painting was done on location just before Christmas 2013. This building is surrounded by office buildings and condos and I liked the way the Chinese White paint effectively an impressionistically captures a sense of all those lighted windows.
Early Morning At The Beaver Pond was one of a series of paintings I did when I took Sharon Williams 24 week watercolour class a few years ago. I used this same scene for a practice on complementary colours. I used Thalo Blue and Cad Scarlett to do a cool version and a warm version. After doing them I wondered what that pond would look like in the very early morning. So this was strictly a mind exercise but I find it extremely enjoyable. Again, reduced contrast and less saturated colour but the sense of story is, to my mind, almost increased. There is a strong sense of mystery.
Late Night At The Liquor Store is still a particular favourite of mine. A large part of my connection with it is that I painted it plein air one night at about 10:30. I was intrigued by the light pouring out of the store and the hope that it seemed to emanate. A dangerous hope to be sure but a great painting experience and I get drawn in to the story every time I look at it.
Finally a very recent painting. This is one of my favourite scenes at the moment from 9th Ave in Inglewood looking to the Bow Building and the downtown office towers. It was an overcast day with some light striking the one yellowish building. Because there was no strong sun light where I was situated and therefore no strong shadows I was better able to notice the yellowish slushy snow and wetness on the road. I played up that yellow and exaggerated a lot of the other colour but I find it a very attractive and effective painting.
I’ve been thinking about this issue of painting light a lot lately and what I’m suggesting is that if you are in love with the effects of sunshine (and who isn’t) that you might also enjoy trying out other light conditions. There is a tremendous amount to be gained from studying and experimenting in these other areas. Even if the paintings fall outside the realm of mass appeal the benefits gained from stretching out into new areas will be well worth it. And sometimes the story and evocative nature of these paintings may out shine some works that feature bright sun shine.
I just received this notice in my inbox today. I had no idea that it had won but needless to say I was blown away.
On Wednesday, Jan 22, I did a demonstration for the Calgary Community Painters Society. This is the first time I had met this group and they were delightful, very enthusiastic and interested. The type of audience that you enjoy painting for.
This picture is a view from Inglewood, looking at the Bow Building. I think that the Bow Building like the Calgary Tower are icons of Calgary and this view from Inglewood shows the Bow to good advantage.
The process I used for this painting is what I call the 3 wash method. The first wash is basically the sky colours spread over the entire painting except for a few highlights in the centre of interest. Wash #2 involves all the mid tones (nearly the entire painting) Wash #3 is the final details, highlights and little bits and pieces.
I like to do paintings like this quickly, just capturing my impression of the scene so I try for large, clean washes. In order to keep the washes fresh I choose not to cut around too many shapes and instead add Chinese White or white gouache at the end to create highlights. I always include figures which I feel help to create a story. One member asked why they would be wandering all over the street in the middle of the traffic. The answer is that they wouldn’t be there (at least not for long). However, as well as adding that story element they also add a certain tension to the painting with helps make it entertaining.
It was a very enjoyable evening. I finished the painting up at home and I estimate it took about 2-1/2 hours in total.
In the style of painting that I enjoy which is representational watercolour it is essential to paint on location as often as possible (en plein air is the official term). I’ve always enjoyed plein air painting but I have to admit that I haven’t always enjoyed a lot of success with it. It’s only in the last year or so when I’ve started to consistently come home with interesting paintings. I have noticed 2 stages of development that I had to go through to reach the point where I usually succeed when painting on location.
Stage 1 in plein air painting is when you can go out and consistently come back with a successful painting. In order to do this I’ve found that 2 things are essential: 1) the ability to create a successful composition and 2) the ability to create an effective value pattern. To create a successful composition requires many decisions in terms of leaving things out, moving shapes around, and especially simplifying things. Almost never can you just copy what is in front of you. An effective value pattern is the arrangement of lights and darks that will lead the eye on an interesting journey through the painting.
Once you are consistently able to produce a ‘successful’ painting the next stage is to be able to create a painting that shows your own personal vision. This is where your painting starts to tell a story or evoke a feeling. It’s not copying nature it’s using nature to tell your story. This stage requires a whole other set of skills. The most important is that you need to be able to pre visualize or see in your mind what you want the painting to look like. Responding to the moment and responding to what’s happening on the paper are of course some of most enjoyable aspects of painting but it is important to start out with a fairly clear direction that you want to go in. A successful stage 2 painting needs to have washes that are fresh and lively and this can only happen if you get the right colour and value in the first wash and that only happens when you have an idea of what colour and value you want.
What’s The Point Of All This
The 3 plein air paintings above which were done very recently are ones that I feel do have a consistent vision and successfully tell a story. Glendale Community Centre is a challenging perspective as the building and rink are down at the bottom of a little valley. This painting very accurately follows the value pattern of this partially sunny day.
Winter Sun, Inglewood plays with the colours of the scene to create a strong centre of interest. Every wash was done in one go except for the 3 large shadows of the 2 groups of figures and the central car. I had to add a second wash to them. So the painting is clean, colourful and I hope very inviting.
In Downtown, Winter Sun I again played with the colours to create a more interesting journey through the composition.
I’m very pleased with all these plein air paintings because I think that they use the elements of the scene as a starting point to create an interesting and effective painting.
If I were to summarize what I have found most useful in this particular journey it is to take as much time as needed before applying any paint to get a clear vision of where I want to go. There will always be ups and downs but when I do the necessary work before I begin painting I find that it almost always works out well.
P.S. I don’t normally want to diminish my paintings but just in case you are interested in a further illustration of the stages of plein air paintings take a look at this previous post . It illustrates what I feel are a couple of successful stage 1 paintings. Pleasant enough, definitely accurate but lacking a vision. They were in effect nice copies of some buildings and structures in Ogden Yards.
We went to Boston , November 12, to see the John Singer Sargent Watercolour Exhibition at the Boston Museum Of Fine Art. I will be reporting on the exhibition itself soon but this post is just about the city and the bits of Massachusetts that we saw. This was our first visit to Boston and we were captivated by the city. To say that it is steeped in the history of the US particularly the early revolutionary days is an understatement. We stayed in the historic area of north downtown. This is the steeple of the Old North Church which was about 20 metres from our B & B. They hung the lanterns in this steeple that fateful night 238 years ago to warn about the approach of the British (1 if they were coming by sea, 2 if they came by land). This is the message that Paul Revere raced all night to deliver. His house is just a few blocks away.
This neighbourhood is all narrow streets and tall narrow row houses. Very difficult to drive a car there. Parking in the neighbourhood – forget it but a great place to walk.
Some nice coffee shops and a late night grocery store.
We stayed in a B & B on the 4th floor of one of these old buildings.
Here is the view from our bedroom. You can just see the steeple of the Old North Church. Most of these places got virtually no direct sun.
This is the street corner right in front of the Old North Church.
Below is a look up one of the side streets. Very typical of this area.
It was very interesting to watch the big garbage truck negotiate these streets. They don’t use garbage cans just put the bags right on the sidewalk.
Even though we were there between Nov 12 – 19 as you can see from this view of the Boston Public Garden there were still the vestiges of the fall colour.
I did a little painting of this bridge. This lady came and sat by me and watched a bit. She also asked to do a drawing in my sketch book.
This is my painting. It was such a beautiful day.
After 3 days in Boston we rented a car and drove around Massachusetts a bit. The first stop we made was in Carlisle about 40 miles from Boston. Like many towns in New England the cemetery features prominently. I liked these stone walls that are everywhere. They made me think a lot about Robert Frost who, in his poetry, referred to them and many other sights of New England.
This is my painting of the main intersection in Carlisle.
It turned out that we would drive for less than an hour and then we’d stop and paint for a couple of hours. It was neat with Susan and I both sitting in the car and painting different scenes.
The top image is a very typical New England house from Forge Village.
The house on the hill was up a back alley in a town whose name I can’t remember, possible Eastham.
This rock pile, again with the stone wall, was somewhere near Cape Cod.
We made a wonderful connection with some people who live on Cape Cod and we were able to spend 2 nights with them and to spend one entire day and night exploring Cape Cod. Fortunately, we were in the off season. I now understand why it is so packed with tourists in the summer. To describe the highway that travels the length of the Cape, as picturesque simply doesn’t do it justice. Beautiful houses, beautiful scenery. We travelled right to the northern tip of the Cape which ends in the town of Provincetown. It’s special geographic location possibly has lead to it’s rather special character. It seemed like a world unto itself. It also is packed in the summer season. It has become a predominantly gay town and I understand it can get very alternative in the summer.
We stayed in a lovely hotel, The Bradford House & Hotel, that was decorated very richly in an almost Edwardian style.
This is Susan painting by lamplight.
Inspired by the light I tried to capture the moment.
This is an impression of the Provincetown Harbour. There is a long history of fishing here which still carries on even though the numbers of people fishing is declining.
This is the main street in Provincetown. Very colourful, very walkable, very scenic.
This is my painting of this scene. The weather was so pleasant that I sat on the steps of a store to paint this. Just after I finished the painting it started to pour rain and never stopped for the rest of the day.
All in all it was a fabulous trip and I wouldn’t mind revisiting there some day.
Saturday, Oct 26 was Canada Watercolour Day which has been initiated by the Canadian Society Of Painters In Watercolour (CSPWC). CSPWC is Canada’s top watercolour society and one I’m very proud to have been juried into just this year.
Even though the weather in Calgary was lovely we went to Devonian Gardens, Calgary’s only indoor park located in the heart of downtown. It had been closed for extensive renovations and it was indeed very different. It’s much brighter, airier, and definitely more integrated into the surrounding office buildings and food court. As a result it is much more heavily used. All that is, of course, exactly what the city wants. Unfortunately, as far as painting I felt it wasn’t quite as enticing as it used to be. Before there used to be more secluded spots and the Koi fish pond and it was more like it’s own little world. Now it’s full of open spaces and people. Anyway here are a few photos of the new look.
I was intrigued by the light on the palm trees so we decided to set up there.
As you can see there were many people passing by but the experience was absolutely wonderful. I find that right away I just go into the painting zone and I’m largely unaware of what’s going on around me. All the people who did stop by and speak were really excited to see us painting.
As I mentioned I liked the palm trees but I find that I can’t get too excited by a scene unless there are some people involved so we asked a young girl who stopped to take a look if she would pose. She was thrilled to be asked and this is my painting.
I like the painting even though it got a little overworked. With plein air painting, however, the result is only one part of the experience. To be there with life going on all around you and with the sights and sounds and just being zoned into painting is a true pleasure. When we left I think we both felt very pleased and inspired.
Until next year.
I’ve been studying Charles Reid lately. He has a unique watercolour style that is very accessible and inviting. In particular I’m looking at his approach to portraits. He was one of the first instructors I met that made me really take a look at the way I held the brush and applied my strokes. I painted far too much with the tip of the brush which can lead to overworked washes. He recommended really pushing the hairs of the brush into the paper and let the brush make the biggest, boldest stroke possible. This was excellent advice and allowed me to make much more creative use of my brush.
Anyway, these 2 studies of my wife, Susan, are my attempt to apply aspects of his style to my own subject matter.
This was the first one. I think it’s a very pleasant portrait though it bares only a partial likeness. There is a nice liveliness to it and I really like the hair and the colourful scarf. In fact I like it a lot.
This is one I did last night. I love the dappled light on the vest. I think the composition is very effective and has a very nice feel of light overall. I would like to improve the main eye. It seems like it’s a little confused as to whether it’s looking ahead or straight at the viewer. The likeness is quite close and it does capture the look of pondering that the photo had.
On a technical note. Reid uses raw sienna a lot. I have traditionally not used it much at all. I dug out my tube of it for this portrait. You can see it very plainly in the jaw line. I’m still not sure if I like it.
The Alberta Society Of Artists held their annual BBQ a few weeks ago at the heritage site, Perronoud Ranch just north of Cochrane. This was my first event as a new member of the ASA. It was a wonderful day. Sunny and warm. By the end of the day it was sunny with gale force winds.
My wife and I went early to do a little painting on the property. I was very pleased with my little study. We ate on this veranda. Some of our meal was simply blown into the surrounding fields by the wind.
I was very pleased to be juried into the ASA this year. I think the thing I like most about membership in art groups like this is the connection and networking with other like minded artists. To associate with, share ideas with, and learn from your peers is wonderful and very motivating. I’m always amazed at the range of interests and directions that others are pursuing. And most of all is the wonderful sense of camaraderie I feel, fellow travellers and all.
I find the colours and shapes of the school buses very attractive. When I saw them against the autumn colours of the trees I thought this is something to paint. Both studies were done on location.
The interesting challenge was how to capture the sense of the bright yellow trees without actually painting millions of yellow leaves. The beauty of plein air painting is that you need to figure out how to handle these challenges and you need to do it quickly.
It reminds me of a saying I made up when I was teaching grade 4′s. ”What do you do when you don’t know what to do – do something.” In this case I think it worked out.
We are having new water pipes installed at the end of our street. Today I was watching a workman cut a hole in a huge concrete pillar. The street was filled with the smoke and dust. The trees disappeared into the white smoke. As soon as I saw it I thought it would make a great painting. I rushed out with my paints to capture it. Can any other medium offer the immediacy of watercolour for quickly capturing the essence of a scene?
I’m finding myself drawn more and more to people doing things. There is always an energy in a painting when there are figures involved especially when they active.
Technically, this painting doesn’t happen with out extensive use of white gouache for the smoke/dust combo. It adds a very nice feeling of depth.