"Stone Cottage with Grape Vines" (oil on stretched canvas; 11" x 14")

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On the second day of Danni Dawson's workshop, I decided to paint the studio of her husband and fellow artist Mike Francis, a charming stone cottage with wooden doors draped with grapevines.  As I painted the scene in the shade of a plein-air umbrella, the overcast sky eventually cleared by the afternoon.  The sun moved to cast the lovely shadows of grape leaves on the old, patinaed doors.

I used to "mass produce" these plein-air paintings two a day during a workshop.  No more!  I took my time by carefully observing the growth patterns and cast shadows of grape leaves, and finished the painting on the following day.  It was a lot of fun and not as exhausting!

"Fine Creek Morning" (oil on linen; 9" x 12") sold

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On the fourth day of Gregory Packard's workshop, which was last Thursday, the sun has returned to Richmond, VA.  The workshop organizers had kindly arranged a plein-air painting opportunity for us.  Following our fearless leader, Greg, we trekked for half an hour to the Mill at Fine Creek in Powhatan, VA. Yes, there were the romantic mill ruins, which have become an outdoor dining area and wedding venue.  But the real surprise was the creek itself.  The name apparently comes from General Robert E. Lee, who said that it was a fine creek.  I have never seen anything like it in Virginia.  The entire creek bed was rocks!

The romantic mill ruins at Fine Creek

Fine Creek

Workshop participants painting away

I decided to paint a scene facing the other way.

"Fine Creek Morning" half finished 

There was no shortage of beautiful sceneries: garden flowers, quaint houses, the mill ruins, the creek, etc.  But I didn't feel motivated.  Shocking, isn't it?  Kim Stenberg, a painting addict, not motivated in such a stimulating environment?  I didn't know it at that time, but I was coming down with a bad cold.  So I took a picture of the above scene that caught my eye and seemed "easy" to paint.  Unfortunately, by the time I was finished setting up my easel (it takes at least 15 minutes to set up the outdoor oil painting gear), the sun disappeared for the rest of the morning!  It actually rained a bit. Dang.

Do you know what I, a sick puppy, did?  I painted the scene from the LCD screen of my camera and memory!  Greg wasn't terribly impressed with my efforts; I wasn't either. The biggest problem with the half-finished painting was the composition.  If you look at it carefully, it is divided into a series of rectangles.  What's up with that?

I called it quits (good for me!), had a sandwich lunch with my new friends, and successfully persuaded Greg into doing a plein-air-painting demo.  I even helped him to unload and carry his painting gear.  He said that he was rusty because he hadn't painted outside for a year.  Tough.

On Monday, I worked on "Fine Creek Morning," focusing on correcting the compositional error.  I am pleased with the final painting.  Please leave comments about what you think!

"Green Spring Day" (oil on linen; 8" x 8") sold

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The gazebo at the Green Spring Gardens Park in Alexandria, VA

There were three of us painting together on this glorious spring day!

"Green Spring Day" blocked in with transparent paints.

"Green Spring Day" further developed.

On the morning of the May Day, I received a tempting email from a painting buddy. She and another mutual friend were going out to the Green Spring Gardens Park in Alexandria, VA.  She invited the members of the Art League Plein Air Painters to join them.  I was torn.  After three days of rain, it was sunny again.  But I was going to stay home and do things around the house.  What to do?

I couldn't resist the prospect of the plein air painting fun with friends on such a fine day.  It's been almost a year since I painted outside.  Despite the winds, chilly air, and numerous chatty onlookers, we enjoyed our outing thoroughly and vowed to go out more often this year.

As I have been meaning to do a series of spring garden paintings for May, "Green Spring Day" seems like the perfect piece to kick off my May Challenge--"Spring Garden"!

"Iwo Jima Memorial" (oil on linen; 11" x 14")

After
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Before

A photo taken to aid the reworking of the painting

The monument viewed from the east

Have you ever been to the Iwo Jima Memorial in Arlington, VA?  The Marine monument to many American soldiers who died during the terrible battle fought on Iwo Jima in 1945 during World War Two, never fails to touch my heart.  Last summer, a group of friends and I went there to paint this famous monument on location.  It was a noble endeavour, considering how complicated the sculpture was!  Because we set up our easels under trees facing the backlit memorial with the view of the DC skyline as the backdrop, we couldn't see the colors well.

I did my best, and after a few hours of hard work, I came home with the almost finished painting.  "Iwo Jima Memorial" was juried into the highly competitive Art League show in June 2011, which made my heart swell with pride.  Well, that was then.  After a year later, a potential customer discovered the painting on my website through the web search.  She came to my house to see it in person, looked at it, made some polite comments, and left.  The incident made me take a hard look at the painting. 

I wondered why there was so much red in it.  It was obviously due to the original orangy toned ground showing through.  As I said, I couldn't figure out the true colors of the base or sculpture while painting, which must have made me compromise in color decisions.  There was no photo to go with the plein-air painting, so last week, I went back to the site to walk around the monument to truly see the colors. 

As it turned out, the granite base had a lot of red in it.  Aha!  That's what pushed the painting toward the reds.  No matter.  In reworking "Iwo Jima Memorial," I decided to push the base toward blue violet.  I introduced more colors and deeper values to the sliver of the background, made the flag brighter, and above all, translated the shadows on the figures into violets.  The reds that still remained became lively, no longer deadening.  I believe the reworked painting is a big improvement on the original state.  What do think?

"Rainbow Point at Bryce Canyon" (oil on linen; 8" x 10")

After
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Before

The view that inspired the plein-air painting

It was a rainy day two summers ago. We drove the whole length of Bryce Canyon National Park in Utah--18 miles--hoping for a break in the overcast sky. Lots of people at overlook points were discouraging too for my plein-air-painting-a-day project, until we decided to take a walk at Rainbow Point. A brief sunny moment transformed the view along a trail. I quickly set up the easel and went to work.

"Rainbow Point at Bryce Canyon" has been hanging in my foyer for two years.  The walls in my house are covered with my paintings; it's practically a museum with many galleries.  Even the garage has a wall with six paintings, which I call "Gallery Garage."  Obviously, the main level is the prime location, where visitors can admire (my wishful thinking!) my artwork.  The foyer being the entry point, I must have thought "Rainbow Point" was pretty darn good.

Winding down my summer project of spiffing up old paintings, I took down the painting and found it lacking that special quality to deserve a wall space in the foyer.  The human-like rock formation in the bottom right, called "hoodoo", bothered me the most.  I think I know why I painted it so big out of proportion--I was mesmerized by and obsessing about it!  This sort of thing happens a lot to painters.  The tall, spindly tree to the left also seemed to be blocking the viewer's eye to truly take in the incredible vista that is Bryce Canyon. 

I strengthened the area between the now much shorter tree and the now diminished formation as the new focal point.  The colors in the shadows of the hoodoos are richer than before.  The new and improved "Rainbow Point at Bryce Canyon" is going back up to the prized spot in the foyer!

"Autumn Walk along the C & O Canal" (oil on linen; 8" x 10") sold

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Before

The scene captured in the painting

In the last  entry, I talked about my harrowing painting experience at Chaco Canyon two years ago.  Here is another such story.  The tranquil scene above is the C & O Canal at Fletcher's Boathouse.  In the fall of 2009, I started taking Sara Linda Poly's  plein-air painting class.  I was absolutely enthralled with the idea of painting outside, but my skill level didn't quite match my enthusiasm as you can see in the original state of "Autumn Walk along the C & O Canal."  But there was another reason for my lackluster performance.

Having covered some popular sites in Alexandria, VA, Sara decided to take us across the Potomac River.  Unless you commute to Washington, DC or Maryland by car, many northern Virginians do not venture out in that direction and some of us get panic-stricken if we have to drive there.  It's like a foreign country to us.  I had never been to the historic Fletcher's Boathouse.  After crossing the river by Chain Bridge, I managed to take a wrong turn and ended up near Georgetown University.  That's when I got a flat tire!  I was rescued by a kind AAA guy, but by that time it was almost noon.  I seriously considered going home.

Not being someone who gives up easily, I changed my mind and eventually found my way to the spot, where Sara's class had been painting for two hours.  Did I say that it was one of those glorious autumn days we often get in the Washington metropolitan area?  There wasn't a breeze to disturb the reflections in the water.  I was glad to join the class.  But I was tired from my adventure; besides, I only had a couple of hours left to whip out a painting.

The painting had been hanging in my garage ever since that eventful day.  Yes, in my garage!  As you know, I have been reworking old paintings for the past few weeks and I am now near the bottom of the pile.  So I took the painting out of the frame, printed out the photo, and went to town.  I am rather pleased with the new and improved painting.

I don't know what the moral of the story is.  You really need a AAA membership?  Bad things do not always happen in threes?  The C & O Canal is a fabulous place to paint?  Never give up, never surrender?

"Chaco Canyon Memories" (oil on linen; 8" x 10")

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Before

The view

Have you ever been to Chaco Canyon?  It is one of my favorite national parks ever.  If you are planning a vacation in the Southwest, it should be at the top of your list of places to visit.  My husband and I had been to Chaco Culture National Historical Park back in 1993 and we wanted to show our daughter this awesome place.

Two years ago, on a typical, hot, summer day in New Mexico, we were back at this amazing monument to a native American civilization.  It was as impressive as I remembered.  While my husband and daughter were checking out some archaeological sites, I set up my easel at Una Vita, apparently over an ant hole. Huge black ants soon crawled all over my feet, my art gear--just everywhere. I got stung.

Ouch, so I moved. Perhaps, I had offended the spirits of the Ancestral Puebloans. The evil ants followed me, swarming all around, biting, hurting. I even got bitten on my neck! At this point, you may be wondering why I didn't spray myself with a bug spray. I did, and it didn't do much good.

Clouds kept moving.  Since I didn't have the wisdom to plan out the value scheme at the outset, I had to chase the clouds, changing values every five minutes in between scratching the itchy spots and crushing as many ants as I could.  Did I mention the heat?  The sun was beating down on me.  Although I was partially shaded by my umbrella, my right side was exposed to the sun and was burning.  A painting session turned into an extreme sport. Ah! Perils of plein-air painting.

"Chaco Canyon Memories" had been hanging in the foyer of my house since then, always evoking the unforgettable memories.  But something bothered me.  Last week I took it down, looked at it for a long time, and finally figured out the problem.  The middle ground in the shadow may have been there at some point while I was painting, as you can tell from the scudding clouds in the sky.  But it didn't make sense to the viewer.  The dark middle ground had also the unintentional side effect of throwing the formation in the background into prominence. 

As soon as I brought back the sunshine to the troublesome spot, the background receded, blending into the land itself.  After more textures were added to the foreground sage brush, I was finally satisfied with the painting.  Now I can fully enjoy the memories of my family vacation to the Southwest.

"Lavender Patch by the Barn" (oil on linen; 9" x 12")

After
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Before

The scene that inspired the painting

"Lavender Patch by the Barn" was one of the paintings done during the workshop with Bobbi Pratte at Willow Pond Farm in Fairfield, PA in June.  I painted the lovely scene in the shade of a big tree. As the painting progressed, the sun moved, enveloping the purple lavenders in the back in shadow and highlighting those in front. Perfect!

The teacher and several of the workshop participants loved the painting very much, so I figured it must be good and I should like it too.  But deep inside, something bothered me.  I will tell you all about my doubts and how I worked things out of system. 

Bobbi was thrilled to see me working so hard while everybody was taking a well-earned break after lunch on the first day of the workshop.  She was particularly happy with my choice of the painting subject.  She would have painted it herself if she had not been so busy taking care of students.  She gave me several good suggestions, one of which was "don't paint the white wall of the barn too high-keyed" because it would come forward.  She told me to paint it grayed blue.  So did I dutifully. 

But that dingy blue wall in the back kept nagging me ever since.  To me, it was a depressing color in a happy, sunny painting.  It just didn't belong there.  The white wall, although in shadow, had a lot of light bounced back from everywhere.  Thus, while keeping the value low enough, I brought light back to the wall.  The painting finally began to sing.  I made a slew of adjustments, but the most important change was the afore-mentioned barn wall.

The whole business made me wonder.  What is the right thing?  Do I always act upon what the teacher says?  Or do I trust my own judgment and do my own thing?  For last two months, I have been taking a break from classes, workshops, and even paint-outs with friends.  In other words, I have been doing "my own thing," figuring things out on my own, and allowing my own voice to sing my own song.  I see big changes in my work and I like my new style.  I will go back to the classroom in the fall, but I don't think I will always follow the teacher's advice.  I will continue to do my own thing.

"Autumn C & O Canal" (oil on linen; 12" x 12") sold

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Before

The scene captured in the painting

Speaking of bringing life back to an old painting, please have a look at what I did to "Autumn C & O Canal".  I painted it at the end of last October along the C & O Canal at a place called Wide Water, just north of Washington, DC.  It was a chilly day, so my fingers and feet got numb within an hour into the painting.  But the light could not have been better.

Then why does the untouched plein-air painting look wish washy?  This is what happened.  When I started the painting, the sun shined on us brightly (there were about ten of us that day), as you can see in the above photo.  The shadows on the embankment were strong, the reflections of the fall foliage in the murky canal water were absolutely breath-taking.

Then the sun started playing peekaboo with us; clouds rolled in; it became completely overcast by the mid-afternoon.  In other words, the painting was a victim of the typical hazard in plein-air painting.  I got confused, couldn't recall exactly the brilliant, bouncing colors that used to be there.

Using the photo as a guide, I brought back the light to "Autumn C & O Canal."  I may have exaggerated colors a bit, but I like the improved state a lot.  What do you say?

"Lavender Fields on a Summer Afternoon" (oil on linen; 8" x 10") sold



"Lavender Fields on a Summer Afternoon" (after)
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"Lavender Fields on a Summer Afternoon" (before)

The scenery captured in "Lavender Fields on a Summer Afternoon"

"Fair Lavender Fields" (oil, 11" x 14"; after)

"Fair Lavender Fields" (before)

The scenery for "Fair Lavender Fields"

If you are a regular reader of my blog, you may remember my experience during the lavender workshop with Bobbi Pratte in June.  Well, it's been a month and a half since the unforgettable workshop and I have completely recovered from painting six paintings in two days!  I felt up to revisiting these paintings to see what I could do to make them sing.

Although nothing beats the freshness of alla-prima paintings done on location, the truth is that they are not always the best work an artist is capable of.  There is so much pressure--heat, bugs, fatigue, limited time, etc.--that if you capture the essence of the scene, you should give yourself a pat on the shoulder and do a little victory dance. 

I uploaded the photos of the sceneries I captured in the paintings above to show you how I edited things while painting on site.  I didn't just slavishly copy what was in front of me, did I?  So much thinking goes on while painting that one feels exhausted just for the brain exercise!

Now, back in my air-conditioned studio, no longer sweating like a pig and about to pass out of heat exhaustion, and instead in full control of my faculties, I could clearly see what was working and what could be improved.  I didn't change much of the composition in either painting.  But colors are richer and there are lots and lots of texture!  Both paintings now sing LAVENDER, don't they?

By the way, painting lavender fields of Pennsylvania got me thinking.  Why not go to Provence and paint acres and acres of lavender fields?  Why not?  Or, as the French say, pourquoi pas?

"Lavender Heaven" (oil on linen; 11" x 14")

Painting No. 1: "Lavender Heaven"
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I love lavender.  Its enchanting scent and lovely colors always make me happy.  My ideal vacation would be a couple of weeks in Provence, painting lavender fields.  Someday....  In the meanwhile, this past weekend I took a workshop with Bobbi Pratte in the lavender fields at Willow Pond Farm in Fairfield, PA.  "Wow!" sums up the experience: the weather was perfect; the views all around, enchanting; the gourmet lunch of all the dishes with lavender in them, heavenly; the camaraderie among the workshop attendants, excellent; Bobbi's instructions, superb.  I think I ran out of adjectives!

My enthusiasm for lavender motivated me to exceed my records as a fast painter.  I have painted up to three small paintings a day.  Guess how many paintings I created during the workshop.  On Saturday morning, I dispatched two paintings.  During a break after the lunch at the farm, I worked on another painting in the shade under a tree.  By the time, we regrouped for the late afternoon painting session, I was pooped out, but no matter.  I did the number four painting of the day!  I was dazed and exhausted; I slept like a log that night.

Painting No. 2: "Lavender Fields and Summer Meadow" (oil, 10" x 8")
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Painting No. 3: "Lavender Patch by the Barn" (oil, 9" x 12")
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Painting No. 4: "Red Hot Poker Summer Garden" (oil, 8" x 10")
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On Sunday morning, after adding some finishing touches on a couple of paintings from the previous day, I "attacked" the lavender fields again, which led to Painting No. 5:

Painting No. 5: "Purple Heaven" (oil, 12" x 12")
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Eventually, alas, the lavender fatigue set in.  The last painting was more or less a rehashing of what I have done so far.  Nobody's perfect, you see.

Painting No. 6: "Lavender Fields on a Summer Afternoon" (oil, 8" x 10")
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Here are some pictures from the workshop I want to share:

Lavender cheese spread container

Lunch table; Bobbi is the lady in orange T and shirt, the second from the right

Lunch spread

Lavender blueberry cheesecake; I have the recipes for all the dishes!

Lavender tour; do you know that lavender and rosemary are close relatives?

Lavender pickers; another painting material after I recover from the lavender fatigue

Painting lavender fields; I just had to take a picture of my friends working so seriously!

LAVENDER FIELDS FOREVER!