Beaver Pond Reflections

Beaver Pond Reflections - Crawford Maine

Acrylic 12" x 16"

Below left was the painting before final adjustments for color and composition.  Subtle differences in the height of the background trees.  I developed the trees on the island and the shape of the island a bit more and, lastly, added some detail and color contrast to the pond, reflections, and foreground.

I particularly enjoyed painting the foreground.  When exploring the Maine streams and woods in the summer or fall, you will often see trees and driftwood deposited by the spring runoff  high among trees or high up on river banks.  That was the inspiration for the tree in the lower right foreground.   A small thing, an incidental accident, almost unconscious but as soon as I made the first brushstroke - there it was.  

                             

The other challenge I run into when painting is to find the proper balance of detail and impression.  I prefer letting the imagination fill in detail whenever possible.

While reading a book of Rusty Heurlin's with his notes in the margins - he had underlined and noted the importance of simplification in his work.  "Simplify, Simplify, Simplify....   Put in only what is necessary in a picture and no more."

Easier said than done but the experimentation is fun and remember - there is almost nothing that can't be undone!

Fall Reflections by Elmer Ham

Watercolor by Elmer L Ham

I love the light and the sense of atmosphere captured by Ham in this watercolor painting.  While this is likely a painting executed in studio - it clearly demonstrates to me the lifetime Ham spent studying nature and painting and sketching on location.

This is most likely a Maine or Massachusetts scene by Ham.  I've seen landscapes and florals executed by Ham in Watercolor, Pastel, Oil, and Pencil.  

Working as a sign painter and painting outdoor advertising murals allowed Ham to pursue his love of painting throughout his life.  Ham exhibited paintings in Boston, Provincetown, and Springfield Mass, and Ogunquit and York Maine as well as in competitions and local venues throughout New England and California.

With All Thy Might

 

With All Thy Might
Acrylic 12" x 16"

I enjoy times at the coast when the weather is such what the roar of the ocean and wind drown out the concerns of the day.  These walks and painting sessions bring to me a deep sense of peace that is both as indescribable as it is increasingly rare in the frenetic pace of our daily lives

This subject, like many of mine, is a combination of a number of places along the Maine Coast and it's islands.  The bulk of the painting was completed in one day.  I'd really been fascinated with the ever changing cloud formations.

The original pass at this subject is below.   I knew that the wave was not correct, but I wasn't sure what I wanted to do with it - so I simply set it aside..

Sometimes the time in between first pass and second is less than a day.  At other times - years.  In this case it was the latter.  

I added more movement to the wave, with the center pushing forward more quickly.  I also added a little more contrast to the tall grass and a few hangers on - leaves on the saplings.  I'm always amazed how nature finds a way - in this case a few leaves in an exposed wind and surf driven spot remain attached even through the first snow.

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Rising Tide

 

#eastportme #artforsale #watercolor #robertkahlerlandscapepainting

Above the Mill Pond

Above the Mill Pond

Mixed Media - Acrylic and Oil

12" x 16"

This painting began on a Sunday afternoon drive.  I did some on location Pen and Ink sketches and then explored the area as much as time allowed.  The small watercolor sketch below was done in studio and just a quick experiment to see how I might capture different aspects of the area in one painting.

Below is the first pass at the subject with Acrylic paint.  I enjoyed the exercise of altering the perspective of the subject.  I also wanted to simply suggest the background bank of the mill pond rather than painting it directly.  Although this "draft" of the subject did capture some of what I was trying to achieve, it wasn't complete in my mind.  I set the painting aside and moved onto other subjects - which is something I do either consciously while I let things simmer in the background of my mind.  The more I paint and observe, the more I have to draw on for the next subject.

 

Robert Kahler Landscape Paintings for Sale!

Tired of hearing about the election?  Looking for a unique gift for the holidays?  Escape into Art!

I have one watercolor and two charcoal drawings for sale at River Arts Gallery in Damariscotta, ME.  Two of the three are pictured below.  These are sold without frames which allows a lower price for the holidays!

If you are interested in any additional paintings on my facebook page or blog  or if you would like to potentially commission a painting please email me at robert.kahler65@gmail.com

I work in oil, watercolor, charcoal, gouache, acrylic and pencil and I have paintings ranging in size from 4" x 6" to 2' X 3'

Rainy Day at the Basin

Watercolor and Gouache

12" x 18"

$125.00

The Falls, Little River Topsham/Lisbon

Charcoal on Paper

12" x 18"

$100.00

If you'd like to learn more about the locations or my creative process, please explore my blog

https://robertkahlerlandscapepaintings.blogspot.com

Enjoy and be well.

#robertkahlerlandscapepainting

#artforsale

#watercolor

#charcoaldrawing

Islands Edge

Island's Edge 

Acrylic 12"x 16" 

I had originally envisioned this painting with a bright clear sky with almost silver reflections off the sea.  But as I began to work on it, I wanted to focus on more color in the surf - which would lend itself more to an active storm.  I wanted to vary the colors in the sky more than a storm would allow so I decided to focus on after a storm with patches of blue sky and storm clouds breaking up.  It would take awhile for the surf to return to normal.  I also decided to have the time of year be late fall which would allow us to see through the wind  blown scrub brush clinging to the cliffs.

I enjoy the creative process whether it goes exactly as I had planned or, as in this case, it goes in another direction.   

Small Seascape

Seascape 
Acrylic 3" x 5"

While doing some detail work on a larger seascape, I began working on some small paintings for a couple of reasons.

For one, I don't like focusing for a long time on small detail work, so I need to break things up.  Also, the yankee in me hates to waste any paint.  If I have paint left over I try to do a small painting - like the one above.  If the paints do not lend themselves to a monochrome or a painting like above, I will use it to put a first coat on a canvas if I have any about.

Below are a few other examples of smalls.  Some of which will be simple studies and abandoned.  Others will lead to other painting journeys.  All, good or bad, complete or incomplete, do help inform my future paintings.  Any day painting is a good day!

Currently on Display

Breaker - Cape Elizabeth

Oil on Canvas Board 12" x 16"

This painting is currently on display in the members show at River Arts Gallery in Damriscotta through August 15th.

Lessons Learned - Is your painting complete or it it finished?

Ammonnoosuc River - Watercolor on Paper

I did some detail work on my large watercolor of the Ammonnoosuc River in Northwestern New Hampshire.  On the lower left, was the early pass at the subject.  I will, from time to time, revisit a subject.  As I had left the picture, it struck me as close to what I was trying to achieve, but overall too dark.  It was accurate feel for the day and time, but the river didn't match the sky.  I decided to just leave things as they were for the time being to get some distance.  Often in Nature - there are times and locations that are quite interesting and moving, but they don't necessarily translate into a strong composition or painting without some artistic license.

There were parts of the picture that seemed flat to me, not enough of a difference in value.  I wanted to increase the interest throughout the picture while not confusing the eye with too much detail.  I remember vividly my first art show many years ago.  I was not really ready to show - but I went for it anyway.  

I walked the grounds and viewed the works of other artists and I found myself to be exhausted by the end as I was focusing on every detail I could.  I didn't really understand the lessons I was learning at the time.  The eye is naturally drawn to detail.  How to balance detail with leaving much up to the viewers imagination?

Years later I went to an exhibition of NC Wyeth, Howard Pyle, and Andrew Wyeth at the Farnsworth in Rockland, Maine.  It was a breathtaking exhibition and really a master class on both composition and using, or avoiding, detail to draw the viewers eye to the intended center of interest.  What I noticed immediately was that these paintings were at once very dramatic and moving, yet very "relaxing" to view.  I wasn't searching the center of interest - it was clear in each and every painting.  It wasn't really until the second or third pass through the exhibition that I began to notice the areas of a painting that were merely indicated with a minimum of brushstrokes and subdued values.

    

I brightened the sky to bring it into line with the river in the mid ground and darkened the water in the shadows in the foreground. and I also did some more variances in value throughout all the areas of the picture to add depth and interest.

            

       Detail Left                                       Detail Center                                      Detail Right

I also added some shadows to the rocks in the foreground and added more variance in the values on the small island.  It is a challenge to know when enough is enough with any subject.  Sometimes one brushstroke can be just what a painting needs to bring it to life, or it can ruin a subject.  As Bob Harris (Robert George Harris (1911-2007) Artist and Illustrator) advised me: 

"It's important to know when a painting is done before it is finished!"

None of this is meant in any way to detract from interest or pursuit of highly detailed paintings or Trompe l'oeil paintings.  Those types of paintings are simply not an area of interest for me - at this time.  I do believe that every type of painting, every attempt, informs my work on my next painting.  If you can express what you want to - what moves you, I don't believe that there is a "wrong" way to approach that painting.  

                            

Rocks and Wildflowers Round 2

Rocks and Wildflowers - 2nd Pass

Acrylic 12" x 16"

                                              Rocks and Wildflowers Two Lights

The picture above left was the first pass at the painting, the picture on the right is the finished painting.

In addition to adding the wildflowers, I also did a little color work in the rocks, and some slight compositional changes to the water , rocks, and shrubs which I think made the composition a bit more dramatic.

I may even scale this painting up to an 18" by 24" or a 24" x 36"  There are so many compositional possibilities let along different seasons.

I've included a link to the previous post which describes a bit more about the genesis of this particular painting below.

http://robertkahlerlandscapepaintings.blogspot.com/2020/07/rocks-and-wildflowers.html

Rocks and Wildflowers

Rocks and Wildflowers

Two lights 

Acrylic 12" x 16"

This is my latest Acrylic Painting of a composition that is a common sight in and around Two Lights.  I explained the process to this point in another post if you are interested in learning about methods for creating painting.  Below I've put the large charcoal drawing (12" x 18") side by side with the Acrylic

When I had reached a stopping point in the main painting, I decided to quickly sketch out some other ideas from my trip with leftover paint on 4" by 6" note cards.

Sketch " x 6"

I really enjoy these quick sketches.  I learn a lot from them with very little time invested.  For instance, in the painting above, the ocean seems to "run off" the picture to the left.  Through the placement of rocks or shrubs I will reverse that so that it leads the eye into the painting and not out of it.  It's a win win.  I don't waste paint and I get to explore ideas in a much looser manner.

Surf Sketch 4" x 6"

Scale of Sketches

Island's Edge

Island's Edge

Charcoal on Paper 12" x 18"

This is my latest piece, inspired by many trips to Long Island, Maine and along the Maine coast in general.  The more frequently I draw, the more I approach drawings like a painting.  Not just in terms of composition, but also in terms of technique and approach.  When my drawing becomes more free, I begin to experience the "happy accidents" that occur in watercolor painting as well.  Where the effects of nature, the emotions you are feeling, appear almost unconsciously or accidentally.

I've been paying more and more attention to sky.  Each day , each few minutes actually,  brings its own abstract painting into being.  The ocean, even as a storm approaches or in full storm, has always brought a sense of peace to me.  It's vastness and power always serve to put things into perspective for me.  Problems that seemed so vast, almost insurmountable, vanish in the spray and thunder of the ocean.

Is it Done or Is it Finished?

These two photos of two of my most recent paintings give a better sense of the size of the water color sketches to the finished work.   For these two acrylics, the sketches are about 1/4 the size of the finished work.

With the large watercolor I did  of the Amonoosuc River, the ratio was more like 7 1/2 to 1.  At this point, I don't do a detailed scale down or up from sketch to finished painting, it is more just a part of the process.  Trying to keep this as simple as possible for quick and efficient sketching in an attempt to capture the moments which catch my attention.

I'm quite motivated by the idea of capturing the different moods of a subject, and even imagining them based on earlier observations of nature.  Both of these paintings are realistic subjects - they do exist, but in imaginary perspective for the old mill pond, and imaging a winters evening full moon light at a local farm.   I really enjoyed these different exercises in the studio.  Working on location remains my first joy in painting, but studio work is gaining in its standing and enjoyment for me.  

I also try to keep the advice of two well known and highly successful artists front and center as I paint.  John Stobart advised putting only as much detail into a sketch as would be needed to execute a finished painting later.  This was to avoid "copying" even one's own work and maintaining room for the spark of creativity.

The late Bob Harris (Robert George Harris) was very encouraging to me through our correspondence and phone calls.  One of my favorite quotes of his is:  "It's important to know when a painting is done before it is finished."  

I also remember vividly the original illustrations by N.C. Wyeth and Howard Pyle on display at the Farnsworth Museum in Rockland, Maine.  The paintings were monumental in scale, composition, color, and use of limited detail.  They knew how to lead your eye where they wanted it to go.  A large area of background scumbled in with virtually no detail in no way diminished these paintings.  On the contrary, the contrast made the paintings even more powerful.  You really had to be on the lookout to even notice these techniques.

Early Spring Evening

Early Spring Evening

Acrylic on Canvas Board

12" x 16"

This is the first studio evening painting I've attempted.  I enjoyed the challenge of muting the colors down, while still capturing the sense of atmosphere on a moonlight night reflecting off the silo, house , and late spring snow.

The inspiration for this painting is a farm I pass by daily on my way to work.  The elements of this painting are all there, just not in the location that I've included them.  I've included a couple of water color sketches below which were the beginnings of working out ideas for this painting.

The watercolor sketch on the left was impression one of a scene toward dusk.  The sketch on the right was a second iteration, which moved the trees behind the house to add emphasis to the house.  I was also experimenting with corn in various stages of decay in the foreground.  

Just quickly looking at these sketches, I can easily see 4 to six different paintings, including a night scene with the snow - which is what I decided to paint.  Below is the first block in, where I was trying to accomplish two things.  One, not to waste paint from another painting I'd just finished (The Yankee in me) and to cover the canvas to make it more workable.  Two I wanted to rough in the composition.

I didn't attempt to block in the tones of evening in the sky, in part, because my one attempt at painting at night (so far) proved to be too dark when examined in the light of day.  I find it's easier to go darker than to lighten up a painting.  I did intentionally block in the dull colors as the base for the hay/ field in the finished painting.

I added the building outline in making one significant change  I moved the house in toward the center and changed the direction of the house to lead the eye into the picture.  I first sketched it in in charcoal as I did in the watercolor sketches - but it instantly struck me as wrong and I changed it to the final composition.  I didn't bother to sketch in any more details as I had the sketches and the impressions from observation to go from and I enjoy continuing to compose as I paint. #pushingpaintaround

One painter whose evening painting (nocturnes) I admire is Frank Tenny Johnson.  His western nocturne's take my breath away.

Above the Old Mill Pond

Above the Old Mill Pond

Acrylic 12" x 16"

This painting was based on Plein Air sketches in Pen and Ink and the watercolor sketch done later in studio.  The perspective is imaginary, as though looking down from a high mill tower.  I wanted to find ways to include what was at the scene in one picture that you could see, just not all at once.

The mill is long unused.  Part of the building being used for apartments.  Part of it collapsing.  Part of it long collapsed.  The mill pond still exists, though the dam is slowly failing.  I broke the edge of the building in the foreground to allow another example of distance as well as the birch tree on the right for the same reason.

I was pleased at how this composition came together and I enjoyed trying to convey a sense of space without having any actual "sky" in the painting.  I plan to go back to this location to do an on location painting of the dam itself, before it is gone.

You may have noted that there is no chimney in the finished painting.  There wasn't actually one there, I was just experimenting in the watercolor.  I also adjusted the angle of the mill building to lead more into the mill pond rather than across it as in the watercolor sketch.

Above the Old Mill Pond Study

Watercolor Sketch - Above the Old Mill Pond

As of late, I've become more and more interested in cropping compositions differently, almost approaching the abstract.   This quick watercolor sketch is based on reality, but not exact.

I'd gone out on a Sunday morning sketch trip and revisited on old mill I'd sketched before in pen and ink.  I sketched the building from the side of the road from a much lower perspective.  The old dam, in the lower right of the composition, was also another subject of interest for me.   The mill pond was was also a point of interest that could not be seen from my original vantage point.

These sketches also took place in the winter.  I decided to imagine what the scene would look like in the fall with the reflections of trees and then how I could alter the perspective and still be true to the mill and the old dam.  So what started as a subject focused on the mill in winter, turned out very differently.  

I enjoy the process of when I am working on a painting or even when writing, that I have a clear idea of where I want to go, but the painting develops a will of its own.  This was a quick watercolor sketch that I will definitely expand into a larger more finished work.

There was an older mill across the street that I'd hoped to paint and sketch, as there were many interesting angles and designs in the decaying mill, but the last time I went back to sketch, the mill had been torn down.

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)

 Permalink

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