Ammonoosuc River #2

Ammononusuc River #2

Watercolor on Paper 

15" x 22"

This is a painting of the Ammonoosuc River in New Hampshire that I completed yesterday (in my basement - totally observing social distancing).  I will do some more studies from this to capture the water in different moods / speeds et cetera.  It's amazing how much the same "scene" can vary based on water and light reflection.

Below are studies used to work out aspects of this "final" painting and the final painting itself to give you some sense of scale.  Missing are a large (rough) pencil sketch with notes that I completed on location as well as a few pen and ink composition studies.

The top left and right watercolors were completed on location during the same trip as the pencil sketch.  The upper middle watercolor was done at home a few days ago (nearly a year later than the on location studies).    (see link below)

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https://robertkahlerlandscapepaintings.blogspot.com/2019/05/mt-washington-and-amonoosuc-river.html

Now if, like me, you had been told that in order to execute a painting you would need to do upwards of six preparatory works (in this case a pencil sketch, 3 pen and ink composition studies, two on location watercolor paintings, and another color study) my enthusiasm for painting would have taken a nose dive.  I would have just wanted to get started.  I still prefer on location paintings started and completed in one go.

However, over time, I've worked out a method that works for me.  On location studies are what ignites my enthusiasm for painting.  The time spent on location, usually within nature, is time I cherish and that I find to be renewing.  I've written before about how amazing it is to me, that an on location painting can literally bring me back to that day even more than 20 years later.  Those paintings serve as a touchstone for memory and inspiration.

Generally I'll complete two or three on location studies per trip, generally the most detailed first, with each following painting becoming looser in its execution.  This lessening of detail occurs most likely for two reasons.  One - there is always a time pressure as light and attention both fade over time.  Two, simplifying a composition in nature is almost always necessary in order to emphasize the center of interest in the subject.

Color and Composition Study - Pemaquid

Color and Composition Study - Pemaquid ME

This study is graphite and gouache on paper - 12" x 18"   This painting is a combination of a variety of on location studies, pen and ink composition thumbnails, and represents a combination of views of the region that exist, but not exactly as in this composition.

Some quick notes from doing this study are to extend the tree on the left out of the picture, widen the gap between the river islands, and add a thin line of ocean beyond the mid ground to add some distance - that may also be another composition.  I was not too concerned with colors in this, more just trying to capture an impression.

I plan to do a large watercolor of this as well other media - oil, acrylic, and perhaps charcoal.

https://robertkahlerlandscapepaintings.blogspot.com/2020/03/composition-and-color-study-ammonusuc.html

Composition and Color Study Ammonoousuc River

I had to get out of the house for a bit yesterday.  Did a couple of quick pencil drawings of a farm outbuilding and of two huge maple trees on the farm.  For whatever reason, I seem to be going through a pencil drawing stage now.  There is something about capturing a scene in just shades of graphite that appeals to me.  Some pencil drawings are very delicate yet incongruously breathtaking and powerful at the same time (I'm not referring to my own work - yet).

Yet, this entry is actually not about pencil drawings, so I'll get back on point (pun intended).  Despite my current passion for pencil, I also regularly feel the urge to work with color, even in the design phase of my work.  So what follows is one two color and composition studies that I completed yesterday on 12" x 18" paper using graphite, gouache, and previous on location studies for reference and inspiration.

Ammonusuc River Study

I am still getting used to gouache - it seems to dry darker then when I paint it - whereas transparent watercolor tends to dry a little lighter.  Practice practice practice.  This scene was inspired by a hike (and sketch) along the river last April.  There was still ice and snow in the woods at this time and the river was running rapidly although the level had been dropping as evidenced by the trees and ice deposited along the riverbank far above the current water level.  When you see a large tree "deposited" in still standing trees fifteen feet over your head - its impossible not to be reminded of the power of nature and the respect it is due from us all.    I didn't paint those elements as I really wanted to focus on the river - but that is a subject that I will return to in the future.

Swift River March

Mixed Media

Oil over Acrylic

12" x 16"

This painting was a continuation of the painting below.  There were parts of the painting that seemed flat to me and I wanted to add some more life, color, and movement to the painting.  Here they are side by side/

Here they are side by side.  I think it works a little better now than before.

Breakers

Breakers - March

Oil on Canvas Board 12" x 16"

I've always been fascinated by the ocean.  This oil on canvas is drawn from memory of countless hours watching the ocean since I was a child - particularly along the Maine Coast.  There are so many different rhythms, colors, smells, and sounds to the ocean - that I believe you could paint in the same spot every day for years and never have two paintings be identical.  This spring and summer I am going to make a concerted effort to paint on location at the coast.  Just need to pick my spot.

Nor' Easter

Nor' Easter

Charcoal on Tissue Paper

This drawing was accepted for the exhibition "storm" at River Arts Gallery in Damriscotta.

The opening reception for “Storm” will be Saturday  afternoon, March 14 from 3 to 5pm.  This show runs until April 11, 2020.

Approaching Storm

Acrylic on Canvas Board

18" x 24"

My submission, Approaching Storm, was selected for inclusion in the juried show "Top Art" at Roux and Cyr International Fine Art Gallery, 48 Free Street, Portland Maine.  The show will run April 3 through April 23, 2020.   This was my first entry into a Portland based art gallery.   I look forward to seeing the gallery space and the other work included in this show as well as to meeting fellow artists and patrons of the arts.