Archive for May, 2018

En Plein Air — Washington D.C.

Tuesday, May 15th, 2018

Last time I wrote about my first plein air travel experience in Key West.  Another recent trip, this time to Washington D.C., provided additional impetus to try breaking away from working only in my studio.

I knew that the Japanese Cherry trees encircling the Tidal Basin had long since bloomed and lost their blush by the time we arrived in late April, but many other trees and shrubs were in glorious bloom.  Magnolia, dogwood, redbud, other fruit trees, wisteria, azaleas, and of course many spring bulbs provided an entire spectrum of springtime hues.  As I considered the various delicate colors scattered in hazy clusters across the landscape, I continually asked myself how I would mix this hue or that, how I could suggest a similar texture on paper, and how this subject or that should be effectively addressed.  But the paints remained only in my mind.

Springtime in DC

Springtime in DC

Segway and bus tours provided an interesting and informative overview of some of the prime sites in the city but offered limited time to take reference photos, and none for painting enroute.  Metros were efficient in getting us to where we wanted to go, but didn’t inspire me much with their views of their underground network—the station tunnels calling to mind a sterile shuttle bay on the fabled Starship Enterprise.

I did take the opportunity to enjoy the museums on my wish list—the  National Portrait Gallery, National Gallery of Art (with a special exhibit of portraits by Cezanne), the Freer Gallery, and some of the other Smithsonian collections along the Mall—while my husband breezed through other museums of particular interest to him.  But beyond making a few quick pencil sketches, I’m sorry to admit that I didn’t accomplish much of my own work at all, either indoors or out.

View of 6th Street from the National Gallery of Art West

View of 6th Street from the National Gallery of Art West

Although I prefer to really absorb smaller, focused areas of interest, my husband likes to cover a lot of ground quickly, to see as much as possible in our limited time.  Guided tours, which he favors, don’t slow down to wait for much emotional or artistic contemplation—or sometimes even reference photos.  And they didn’t leave a lot of time for plein air painting until I was too exhausted to tackle it.   The experience taught me that if I truly want to paint, sometimes I will have to aggressively claim that time by foregoing other options or overriding others’ desire for my participation in their preferred activities.

The hectic pace did force me to sketch quickly, concentrating on a focal area with minimal detail, and building around that as time permitted.  I’ve found that simplification is the key to quick sketching, capturing line, gesture, balance, and a suggestion of key impressions.

Smithsonian Castle Skyline

Smithsonian Castle Skyline

So I’m making an effort to quickly visualize my compositions in terms of a limited focal area while eliminating or minimizing all but the critical balancing elements to create something of a vignette or silhouette as I sketch.  It’s a difficult transition to make from my more extended studio paintings, but I find that my early exposure to sumi-e has provided a valuable foundation for this approach.

En Plein Air — Key West

Tuesday, May 1st, 2018

Spring and summer can be lovely times for painting outdoors, to try to capture a genuine feel of the natural world, out in the fresh air and sunshine. I have had a tendency to shun direct sunlight up to now, since my northern European heritage of pale skin and green eyes do not take kindly to the strong sun in my adopted state of Florida.  But I am determined to be more daring through the next several months.

In order to keep me from wimping out, I am committing here and now to blog this summer on at least some of my plein air experiences.  So stay tuned.

After a few local efforts, my plein air adventures seriously kicked off with an overnight trek in April to Key West, which gave me incentive to get out on my own to do some painting on location there.  I loaded up a backpack and set out to canvas the town.  What was I looking for?  A taste of the island’s unique flavor without relying on clichéd scenes.

My husband, a friend, and I headed down on the Key West Express—a 3½ hour catamaran trip from Fort Myers Beach. Arriving shortly after noon, we caught an Old Time Trolley to get a tour and quick overview of the entire island.  We hopped off briefly to drop our overnight gear off at our hotel, and then resumed the tour on a subsequent trolley to make our way back to Mallory Square for dinner and, eventually, the tropical sunset.  Clouds low against the horizon precluded any hope of our catching the fabled green flash, but there was plenty else to interest us.  All afternoon I had made note of particular areas to focus my attention for painting purposes on the following day.

The next morning we split up, the men to find their amusements, and I to seek my own.  While others queued up to take selfies at the Southernmost Point marker (which, ironically, isn’t really the southernmost point of the Continental US at all), I set up my easel to depict one of the lovely old guest houses in the neighborhood.

180411w "Dewey House," 10"x8" watercolor by Charlotte Mertz

“Dewey House” by Charlotte Mertz (10″x8″ watercolor, #180411w)

After lunch, I resumed my quest and decided that the lighthouse, which I had considered painting, offered unsatisfactory views and poor angles for what I wanted to do, so I jettisoned that idea and continued north on Whitehead Street to find a house whose front yard burgeoned with bouganvilla.  It proved a very pleasant subject on which to while away the afternoon.

Although neither painting was entirely satisfactory to me, I learned a lot from the experience.  I also made several pencil sketches and collected innumerable photos to use as reference material back home.