From Study to Studio: Rose Regalia

There is little more satisfying than capturing a moment in time through painting. And there is no better method to achieve that end than painting from life. The beauty of plein air painting lies in its freshness and immediacy. At its best, pure notes of color painted with confidence are juxtaposed with passages of broken color as the painter makes new discoveries along the way. Light and shadow fit together like pieces of a puzzle until a unified statement coalesces into art.

Where plein air painting is very spontaneous, my approach in the studio, while similar, is more deliberate. Here I can adjust my proportions and play with the composition without the rush against time. I knew in the moment as I was painting this scene at Lewis Ginter Botanical Gardens that I would want to do a variation of it in a larger format. The colors were so spectacular and the garden designers did a good deal of the design work for my painting with the well- planned pathways and layers of flowers in all shades framed by trees and gazebos in the background.

“Rose Regalia”, Oil on linen, 12x16” ©Jennifer E Young

“Rose Regalia”, Oil on linen, 12x16” ©Jennifer E Young

I chose a favorite canvas size, 24 x 30”, for my larger studio piece. It is a slightly different aspect ratio than my 12x16” plein air, so I made some slight adjustments to the proportions and placement of the gazebos to create a less centered composition.

“Rose Regalia II”, Oil on linen, 24x30” ©Jennifer E Young

“Rose Regalia II”, Oil on linen, 24x30” ©Jennifer E Young

I wanted to stay true to the spirit of the smaller painting and the lighting effect coming from behind, but I lengthened the path to create a little more distance between the foreground roses and the background gazebos so as to slow the eye as it traveled through the painting. I really liked the looseness and freshness in the handling of the roses in my plein air piece, but I added more tonal variation and detail in the peachy roses in the foreground, since these shrubs were close to the viewer and the larger canvas seemed to call for something more.

Overall I am enjoying both the large and small versions of this composition, each in their own ways, and I think they each possess their own qualities unique to their chosen approach. The smaller plein air piece is currently one of 3 paintings I have displayed in a group show called “En Plein Air” at the Lora Robbins Library at Lewis Ginter, and the larger painting will be a part of a new exhibit this Friday at Crossroads Art Center’s Summer Open House. If you are in the Richmond area and you’d like to see these shows in person, check out my calendar for the details .

Beach Week Bliss

What happened to June? It was a crazy, exciting month. To our surprise and delight, our 8 year old daughter had landed a bona fide cast role— as “Molly” ( the littlest orphan,) in the chlidren’s theater production of “Annie”. I soon founding myself chauffering her to daily rehearsals and painting orphanage set pieces, Hooverville set pieces, and various props in the production.

We had a blast during the whole experience, but by the time beach week (and July) rolled around (the day after closing the show!) we were all SO ready to return back to our normal, boring life. Not only that, but I was REALLY ready to return to painting—landscapes on canvas, that is.

My first, early morning attempt at it didn’t exactly go as planned, however. Little did I know when I hauled myself and all of my gear over the dunes and down to the shore at 6 a.m. that I was without a rather key part of my painting setup—the piece of my pochade box that attaches to my tripod and essentially holds my painting upright. As dismayed as I was, I determined to forge ahead.

I managed to complete a small 8x10” just-after-sunrise piece of the pier, propping the canvas horizontally the way you would a watercolor, on the edge of my palette. But it was no watercolor. The morning sun cast such a light on my oil painting at this angle that it was really glaring and almost blindingly too much light on the piece, making it hard to view or judge values. In any event, after a few minor adjustments “after the fact,” I think I managed to capture the “feeling of the moment” in spite of the struggle.

“Nags Head Pier, 6 A.M.” Oil on linen, 8x10” ©Jennifer E Young

“Nags Head Pier, 6 A.M.” Oil on linen, 8x10” ©Jennifer E Young

I actually thought I had left that key piece of equipment at home, but luckily for me (and the next painting,) I found it, tucked in a compartment in the trunk of my car. Whew! 😅This gave me courage to venture a little further down the road, to find a public beach access and a traditional Nags Head cottage, complete with dunes, weathered cedar shingles, and a fishing boat temporarily moored in the distance between the two. I really love the traditional cottages of “Old Nags Head”, and this cottage “Sand Joy” seemed to embody so much of that local character.

“Sand Joy” Oil on linen, 11x14” ©Jennifer E Young

“Sand Joy” Oil on linen, 11x14” ©Jennifer E Young

One other morning it was down to Nags Head Fishing Pier. It was a little too far from the house to hike with all of my gear, so I drove down and paid to park. Ironically, I ended up painting the beach and no pier at all. I had fully intended to paint that pier with its waves lapping and glinting under the pilings, but my eye and my heart kept drifting to the beach and the surf and those wonderful clouds that were forming on the skyline. So I wiped down my canvas and started anew. In such moments I just feel it is better to paint what compels you, rather than what you think “should” compel you.

“Nags Head in July,” Oil on linen, 11x14” ©Jennifer E Young

“Nags Head in July,” Oil on linen, 11x14” ©Jennifer E Young

After that I ran out of white paint and was bummed to find the only art store on the island apparently closed for the July 4th weekend. As a result, I was “compelled” by necessity to just relax the next morning or two and enjoy the sandcastles and porpoises, which, let’s be honest, isn’t exactly suffering. I took a lot of great photos, though, so I am sure to revisit my time there in the coming months in my studio. Hope you’ll stay tuned for that inevitability!

P. S. I have a couple of upcoming summer shows in the very near future, including one at Lewis Ginter Botanical Gardens that opens tomorrow night. I have written indepth about them in my latest newsletter, which you can check out here. I hope you can join me at the openings if you are in the area!

Two more from "Public Gardens Week" at Lewis Ginter

Today I am continuing my last post’s theme by sharing a bit about the two additional paintings I created during the “National Public Gardens Week” event at Lewis Ginter Botanical Gardens. I will be submitting all three of the pieces I created during that week to a jury for an exhibit that will be held throughout the summer at Lewis Ginter. If I should get a piece (or pieces) accepted into the show, I will post an update here and also add it to my calendar. Here’s hoping!

This first piece was done in the Rose Garden, which I was so happy to have finally been able to capture at its peak, even while under the full onslaught of the Virginia sun.

“Rose Regalia, Lewis Ginter Botanical Gardens”, Oil on linen, 12x16” ©Jennifer E Young

“Rose Regalia, Lewis Ginter Botanical Gardens”, Oil on linen, 12x16” ©Jennifer E Young

I own two painting umbrellas, and whenever possible, I do my level best to avoid having to set them up. Not only does it interrupt my process by having to stop and attach it and adjust the angle, it also can easily take on the “Mary Poppins” effect, lifting my entire setup with one inopportune gust of wind. But at this location and at this time of day (and with this skin of mine) an umbrella was an absolute must. Not only does it shade my palette and my painting to eliminate the blinding glare, but it (kind of) shades me too. Here I am with my umbrella set up, working out my composition about midway through the process. I use a stone bag on my tripod to help weigh down the base of my setup. In this case, I’m using my pouch full of paints as the “stones.”

The next painting was done on another blazing hot morning down at the lily pond near the Children’s Garden. I thought I was being quite smart by tucking myself back in a shady corner on a dead-end path pond-side. Sadly that lovely shade burned away in less than an hour, and again I had to extract the dreaded umbrella apparatus.

“The Magical Treehouse, Lewis Ginter Botanical Gardens”, Oil on linen 12x12” ©Jennifer E Young

“The Magical Treehouse, Lewis Ginter Botanical Gardens”, Oil on linen 12x12” ©Jennifer E Young

Though I definitely struggled with the heat of the morning, I ultimately got lost in the joy of painting this piece. It holds so many special memories for me, having ascended the ramp that leads to the tree house many times with my young daughter. I attempted to paint this structure once before many years ago when I was newer to plein air painting and before I had a child. It ended up looking like an out of place alien space ship devoid of all charm, and I was scared away from painting it until now. I’m not sure if it was the additional experience as a painter or as a mother that helped me so much more this time. Maybe it was a little bit of both. In any case, this might be my favorite of the bunch.

Plein air in the garden

As I mentioned in my last post, I participated last week in a “call for artists” from Lewis Ginter Botanical Gardens to celebrate National Public Gardens week. You may know from reading previous blogs that I have painted in these gardens many times as a resident of Central Virginia. But somehow, painting in this context, constructed around an “official event,” helped me to see this place with new eyes and renewed excitement.

I decided to challenge myself by painting some gardens that I hadn’t tackled before. The first day I went it was AWASH with tours and school groups. There were so many kids there stopping to give their input. All of it was actually very positive, but also a bit distracting. Now, I love kids quite a lot, (and even have one those cuties myself) but on this day they were messing with my mojo and I had a hard time concentrating on what I was doing😅.

The architectural elements were minimal, but even so, required some concentrated drawing, some sense of proportion and placement to get right, especially since I was fairly close up to my subject and didn’t have a lot of room to manuver. I moved my entire setup several times and wiped it all down, before finally settling on a view that satisfied. It left me less time than I had planned to get everything down before I had to head back to my house in Ashland, but I did a pretty decent job, with only the need for a few final touches in the studio.

“Illuminated Courtyard, Lewis Ginter Botanical Gardens”, Oil on linen, 12x16” ©Jennifer E Young

“Illuminated Courtyard, Lewis Ginter Botanical Gardens”, Oil on linen, 12x16” ©Jennifer E Young

When I was (finally) in a pretty good place with my painting, a kid came by to examine my progress. I estimate he was around my daughter’s age (3rd or 4th grade) . He studied my effort with seriousness, alternately looking at my painting and the scene, my painting and the scene. Finally he gave me a decisive and approving nod. “You’ve done your homework,” he said.

And that, my friends, is the beauty of painting outdoors. It’s filled with its share of frustrations to be sure, but the moments of spontaneity are pure gold.

Time struggles, plein air, and new calendar of events

This week has been a little crazy; two openings and a plein air event for me, theater rehearsals and school and sports for my daughter, and all of the regular stuff of life in between. But some version of crazy seems to be the norm for my schedule every week, and I am not alone.

While I was painting this week at Lewis Ginter Botanical Garden (more on that in a minute) I ran into an artist friend and we started talking about how disorganized we can sometimes feel and how guilty we feel about not being better at marketing to social media, to our newsletters, and yes, to our blogs. When time is crunched, the choice of whether to do any of the above or to paint always seems to result in painting as the clear winner.

It’s a frustration that I know a lot of other artists share, many of whom, like me, aren’t always masters of time management or organization. “I need a calendar of events on my website,” I said to my friend, “a quick and simple way for people to check in and see my upcoming shows and events. Maybe it would help me stay more organized too.” When I got home that afternoon, I checked out my site and lo and behold it does have that functionality. So viola! I now have a calendar!😃

If you check out the aforementioned calendar you can see that I have been spending the week painting at the botanical gardens as part of a promotion for National Public Gardens Week. Local artists who applied to paint during this week will submit their completed works for a chance to be juried in to an exhibit at Lewis Ginter that opens June 22nd.

Work in progress, 12x16”, painted during National Public Garden Week at Lewis Ginter Botanical Gardens

Work in progress, 12x16”, painted during National Public Garden Week at Lewis Ginter Botanical Gardens

I really like these kind of events because even though I regularly paint outside on my own, they get me out and focused and inspired. I enjoy seeing what other artists are doing and collecting new ideas on various artists setups and tools of the trade. It’s a very different vibe from the more formal events that are organized around competition. I have some friends who thrive on competition and use it as a means to drive themselves onward to bigger heights. For myself, it’s a little more stressful. I do the competitions from time to time and haven’t yet regretted it, but I am not that competitive by nature. So the more relaxed festivals that are really just a celebration of art and plein air painting are truly my jam.