Posts Tagged ‘Charlotte Mertz’

A breath of plein air

Monday, June 1st, 2020

A few weeks ago, for the first time in several months, I met with some friends for a plein air outing. We gathered in the combined shade of a private park filled with live oaks and shared our news and goals for current artistic endeavors.  One friend worked with colored and watercolor pencils, another with graphite, and a third focused on color-matching exercises, while I did a watercolor sketch of one of the scenic views before us.

"Oak Park Pond," by Charlotte Mertz (5"x7" watercolor, #200506w)

“Oak Park Pond,” by Charlotte Mertz
(5″x7″ watercolor, #200506w)

Despite maintaining acceptable social distances from one another, it was a welcome change from the creative isolation we had all been feeling.

On our second outing, for the first time in many months, I played with water-miscible oils to brush up in that area. (I find I have a lot of brushing up to do in that realm, having fallen quite out of practice since agreeing not to use oils in my home studio. My husband’s extreme sensitivity to solvents means that I need to use oils en plein air or not at all; until recently it’s been not at all. But I’m hoping that that, by using the water-miscible oils, that can change this summer.)

Therefore, for several reasons, our plein air group members all look forward to continuing to meet on a regular basis.  

I hope you have all been able to start enjoying some opportunities for getting out and sharing some real togetherness, too, since shelter-in-place restrictions have started to loosen up.

What new undertakings have you been exploring while sheltering in place?  What are you looking forward to doing (or have started doing) again, that you haven’t been able to do for a while?  I’d love to hear from you.

The subject made me do it!

Tuesday, October 15th, 2019

Despite my recent resolution to stick with watercolor for a while, first thing this month the subject and atmosphere simply cried out for pastel.  So I heaved a sigh, collected the few pieces I’d set aside “just in case,” and some precut papers (ditto), and set out on a brief jaunt before the humid atmosphere should clear in the Florida heat and talk me out of working en plein air.

"Orange River Etude," by Charlotte Mertz (5"x7" pastel, #191001-sp)

“Orange River Etude,” by Charlotte Mertz (5″x7″ pastel, #191001-sp)

I suppose it could be justified as a study, not intended to be displayed.  And it could serve eventually as the basis for a watercolor studio painting.  (I’ve long avoided using pastel in my studio, due to the dust it creates.)  But after all, drawing on the claim of “artistic license,” I shouldn’t really need to justify it at all, should I!

It was fun to use pastels again, just for a change.  But they still don’t call to me full time, as watercolors do.

Approaching self-portraiture

Friday, May 1st, 2015

A lot of us cringe when we see photographs of ourselves because we don’t like how they depict us. Our image in a photograph is not what we’re used to seeing in a mirror because, the fact is, we’re not built entirely symmetrically. Any aspect that is asymmetrical appears to be exaggerated—doubly so—whenever we see it photographed.

Historically, when artists have drawn or painted portraits, they usually referred to a mirror image. Since photography has come onto the scene, we have had the choice of which to derive our self-portraits from.

150309p Self Portrait

I have chosen to use photographs for my own self-portraiture (including #150409p, above) for two reasons. First, a photograph records my features as most people are used to seeing me, so a mirror image would appear to them to be as “wrong” and distorted as a photographic image appears to me.

The irony is that when preparing for the self-portrait above, I shot the reference photograph in a mirror but forgot to reverse the image before drawing from it. So what you see here is actually the mirror image that I am more familiar with. It does help to be able to chuckle at our own mistakes!

The second reason I like to work from a photograph is that, working from a less familiar image, I am less inclined to succumb to vanity and either consciously or unconsciously “improve” certain features to make them appear more attractive to my own eye. This is because I am forced to accept the reality of the less familiar image as though it were an entirely separate person. If I should try to “correct” my appearance from a photographic image, I would almost certainly be distorting it away from the perception others have of my actual appearance.

I do hope I managed to refrain from succumbing to that temptation in the self-portrait shown here.

Of course, this raises the question of why I should go to the trouble of drawing or painting a self-portrait if I’m taking a photograph anyway. I’ll address that question next time.