I’ve been using a sketchbook to look for outdoor painting locations that offer parking, shade and other necessities, along with the subject itself. The pen is liquid ink, claims to be archival, made by Pilot.
Houses, pen & moleskine, 5×8 in (13×20 cm), 07/24/12
Observatory, pen & moleskine, 5×8 in (13×20 cm), 07/24/12
Greenhouse, pen & cachet, 8 x10 in (20×25 cm), 07/29/12
Went to the MFA to see the Katz portrait show; preferred the Corot, from whom Picasso — Gorky, Matisse, Porter, and many others — learned so much. Corot, pen & moleskine, 8×5 in (20×13 cm), 07/27/12
Pine tree, acrylic on paper, 8 x 10 in (20 x 25 cm), 07/08/12
Walsh Alumnae Hall, acrylic on paper, 9 x 6 in (23 x 15 cm), 07/08/12
“the secret of durable pigments… the refuge of art,” V. Nabokov, Lolita
Everything outside is constantly on the move. Clouds, sun, breeze, water, and reflections translate into frequently transformed pattern, shape, color and value. It’s difficult enough to make out what one is seeing. Even more challenging to organize paint in response. But it’s wonderful to be outside in delightful weather. This painting benefited from going back to the same place a second week. Visitors were friendly and complimentary. Children of 2011 were transfixed by encounters with outdoor painters in the groomed wilds of Wellesley.
Hourglass Lake, oil on linen panel, 9 x 12 inches (23 x 30 cm), 06/26/11