Splash of Sunlight - Revised

Pastel, 6x6 on UArt paper

I found this painting among some old works.  In 2018, this is a small, plein air expression done as part of a First Coast Pastel Society paint out.  These fall petunias were on a bench in a covered display.  The sunlight fell in patches and streaks on the purple and green.

I retouched the original, added some crisper edges, contrasting light, and updated the shadows - just a touch here and there.  I wanted to preserve my original reaction to the light and shadows.

Splash of Sunlight

Pastel, 8x8, Plein air

This is a small, plein air expression done as part of a First Coast Pastel Society paint out.  These fall petunias were on a bench in a covered display.  The sunlight fell in patches and streaks on the purple and green.

Quiet Glory

Paste, 9x12, en Plein Air

I chose to paint the Mayport Presbyterian Church with the First Coast Plein Air Painters.  Painting buildings is a challenge for me, and I have to concentrate on perspective, proportions, and vertical edges.  I have found that the way I stand when painting en plein air I tend to make everything slant left even when my initial drawing is accurate, so my result with this old church is a small success for me.

This small white church radiated the quiet grace in which it stands as an inspiration for the faithful.  It was a rewarding way to spend a Saturday morning with friends from the FCPAP.

Suggestions

Pastel 9x9

Plein Air

Painted at Jacksonville Arboretum last Friday. I added a few touches this morning and signed it. This was an exercise of assembling widely scattered elements from the vista into a small space.

Early in the painting process, I struggled with the values and composition. Then as the shadows moved, I realized that a major feature of the bank in the back ground had been there all along. 

I need to remember to walk through the landscape as much as possible so that I know the objects that are in shade and shadow.

Come On In

Pastel, 12x9, Plein Air

This was my effort for the Romanza on Aviles annual plein air event.  This doorway opens to a quiet, green garden - an escape from the crowds and heat of the street.  I find these images mysterious and inviting.

Estuary, December Afternoon

Pastel 9x12 on UArt

This painting was done plein air at Guana Preserve.  The high, mid-afternoon sky and hazy sunlight over the estuary washed the color from the marsh and trees as it muted the contrasts in values.  For this study, my goal was to capture a true rendering of the scene and atmosphere of the afternoon.

Estuary, December Morning

Pastel 9x12 on UArt

This painting was done plein air at Guana Preserve.  The high, mid-morning sky and hazy sunlight over the estuary washed the color from the marsh and trees as it muted the contrasts in values.  For this study, my goal was to capture a true rendering of the scene and atmosphere of the morning. 
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Pine on the Pond

Pastel - Plein Air, UArt 9x6

This small pond is guarded by a number of tall, stately pine trees.  This specific tree  stands apart and it caught my attention as it stood in the hazy morning sun at the corner of the pond.  The wind from the north ruffled the water and muted the reflections.  A few scattered clouds kept the day cool and made the work delightful.
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Shadows on Aviles St.

Pastel on UArt, 9x6 - Plein Air

"Shadow on Aviles Street" - St. Augustine - my painting from Romanza on Aviles plein air celebration. This is a view of a gate in the wall at the end of Aviles Street. In the early morning, the shadows paint the coquina wall with inviting patterns. Capturing this view was a little more difficult for me than I expected because my pastel selection in my plein air box is mostly for landscapes and beaches, but I managed to get the effect I wanted.

Mid Morning Patterns

Pastel on UArt, 9x6 - Plein Air

Plein air painting from this morning. I believe all the important information is here. The patterns of streaming light and deep shadows make the ordinary scene dramatic.  The morning was passing quickly by the time I finally got set up to paint.  I had to work quickly in order to capture the fugitive scene with deep shadows and blazing sunlight.  Often I find the pressure of time in plein air painting brings the best results.

Lake Ray, September Colors

Pastel 12x9 - Plein air

When I started this painting in the early morning, the sky was a slate-gray overcast.  As I worked, the clouds broke in patches.  The gray became lighter and the shadows lost their depth and mystery, but the colors remained gray and muted.  A light breeze kept the lake from being smooth making the reflections vibrant and soft.

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Romanza on Aviles, 2015

Grape Arbor, Fatio House

To purchase "Grape Arbor, Fatio House" follow the link at Daily Paintworks.

Grassy Path, Fatio House

Both of these plein air paintings were done as part of the Romanza on Aviles, St. Augustine, Florida.  The participating artists drew a location from a "hat," and I drew the gardens at the Ximenez-Fatio House.  This was an ideal place to spend the day painting.

The first painting, "Grape Arbor," caught my attention with the combination of organic forms in the wall, shadow and grape vines which contrasted with the arbor itself and the old stoneware pot and stand.  The bright red of the geraniums was a big plus!

The second painting, "Grassy Path," is a depiction of the herb and salad garden against the old stone wall at behind the buildings.  The path to the wooden gate beneath the dense foliage of a fig tree made a delightful combination of cool shade to escape the bright, midday sun.

Expecting Rain, Arboretum

Pastel on Wallis, 8x8

Rain had been forecast and threatened all day, and the overcast painted everything in cool tones of blue and gray except for the forest litter of the seep bank which still held some of the warmth of the hidden sun.  Everything seems to be waiting for the rain to come.  This piece was executed from the new shelter at the Arboretum so that it would not get wet if the rain came suddenly.  This painting was purchased before I could even take it to the "wet tent."

Kathleen Galligan Workshop

"Intradune Marsh" - 12x9 - Day 1

 

I chose this view because of the contrast in linearity between the oaks and cedar in the foreground that show their bulk and roundness, the intradune marsh with is generally flat and horizontal, and the dunes in the distance which offered the horizontal with variations.  From where I had to stand, there was a large sign blocking more than half of the left side of the scene, so I had to walk a few steps forward to be able to see the image I was trying to paint.  I widened the path and removed some of the shrubs to give a view of the marsh and dunes.

"Cloud Divergence" - 12x9 - Day 2, Number 1

 

Day 2 was very windy and the clouds constantly built and broke apart as they marched across the sky.  In order to create the sense of vastness and movement in the clouds, I had to minimize the land and lower the horizon.  I kept in the few scrubby trees as a focal point, and added the sunlight on the marsh grass for and accent.

"End of Day" - 12x9 - Day 2, Number 2

 

Later in the day, I had time to start another painting.  I was drawn to this clump of trees on the edge of the salt marsh.  This was an interesting mixture of varieties of live oak trees - most of them were losing their leaves and getting new growth, but one in the center held its old leaves providing a dark background to the open branches of the other trees.  I did not get a chance to finish the foreground and add a suitable transition from the small grove to the grasses in front.

"Staying Put - Low Tide" - 12x9 - Day 3

 

For the final day, we worked under the constant threat of rain.  The overcast broke from time to time giving sunlight and broken shadows on the marina.  The tide was low and going out further when I started this painting.  The first thing I did was sketch the basic masses of the cord grass and put in the water the was left.  When I finished this foreground and middle ground were reduced to broad mud flats. 

This painting is about contrasts.  I wanted to show a contrast to the organic shapes of the grass and the straight line of the bridge and boat masts in the background.  I emphasized the contrast in colors between the light lavender of the sky, and water, the deep purple on the sandy mud, and red/brown of the grass.

"Tide Veiw Park at Low Tide"

Pastel on gatorboard; 14x11

This painting was started on location - en plein air - but the rain chased me in before I could finish.  I finally had time to get back to this and finish it this morning.  The rain was coming in from the northeast, and the tide was completely out which created this drama on the marsh.

"Spring Blue Headwaters"

Oil on linen panel - 8 x 10

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This is a picture of a bridge over the headwaters of San Pablo Creek. I have driven over this bridge many times, but until I stopped and walked to where I could see the bridge at a distance, I discovered the blazing blue of the water with all the color and exquisite form of the bridge and little stream. This painting was made to capture the early spring when the maples and willows on the other side of the bridge are just beginning to come to life. At this time of year, most of the cattails are bleached nearly white contrasting with the water weeds that still retain some of their green along with the reds and russets of the winter.

This painting took me longer to complete than I would have liked because the contrast between the red of the old growth and green of the new was difficult for me to get wet-in-wet. I wiped out a number of times, but found that using a "pallet, stroke, pallet, stroke" process with plenty of medium worked for me. That kept the two contrasting colors from mixing too much.

Rick Petersen