Painting the town in Washington, D.C.

Here it is already June! What do I have to to show for it being almost mid-year 2019? I’ve not been painting as much this year– due partly to some work-related priorities but mostly due to a combination of too many choices with regard to painting media and some news-overload paralysis, I’d say. Painting more frequently is absolutely essential to becoming more proficient and I’ve totally failed so far in that goal this year. I keep watching other painters’ blogs though, and am finding that some painters whose work I respect are rediscovering the value of working from reference photos (which means painting inside).

But we’ve had gorgeous weather beckoning me outside. And: I finally broke open a packet of watercolor paper I bought on the trip to Germany earlier this year–paper that’s hard to get in the U.S. (Being interested in paper, this is a sort of ‘me’ thing, I guess.)

Illustration: “Georgetown Waterfront Park,” Hahnemühle ‘Leonardo’ cold press watercolor paper, 2019 by Black Elephant Blog author

Since we had a gorgeous weekend, I found myself down at the Georgetown Waterfront where there is an unbelievably tranquil park. Enjoying gentle breezes and the surprisingly wide-ranging discussion with me (immigration, climate change, human trafficking, mangroves, wetlands…and how they are all interconnected!! So very impressive!) of a young lady visiting from Utah, I created the following scene without spending much time setting it up. The paper is amazing and so thick it would be shame not to follow up and paint something else on the reverse side.

Illustration: “Enid A. Haupt Garden,” Watercolor on cold press paper (2019) by Black Elephant Blog author

Earlier this year, I managed to get out and do other scenes of some parts in Washington, D.C. This city is famous for many things but people out of town may not be aware of how many absolutely gorgeous and well-maintained parks there are in this region, many in the heart of D.C. while others are in surrounding neighborhoods. It would be a shame to miss some of them no matter how short your visit. I’ve included below a few painting sketches from last year as well!

Illustration: “Springtime in Farragut Square,” watercolor on Arches cold press paper, 2019, by Black Elephant Blog author

Illustration: “Oak Hill”, watercolor, gouache, and ink on “15x “11 Arches 140# watercolor paper

Illustration: “Spring colors”, 15″ x 7″ watercolor, gouache and ink on Fabriano Traditional White 140# watercolor paper by Black Elephant Blog author

Illustration: “Orangery,” at Dumbarton Oaks, Georgetown, watercolor and pen-and-ink on Arches CP watercolor paper by Black Elephant Blog author (2018)

Illustration: “Sculpture Garden, National Gallery of Art,” Watercolor, gouache, and pen-and-ink on Fabriano Artistic paper by Black Elephant Blog author (2018)

Illustration: “U.S. Capitol,” Watercolor and pen-and-ink on Arches CP paper approx 14″ x 9″ by Black Elephant Blog author (2018)

Illustration: “Colvin Run Mill,” Watercolor, gouache, and pen-and-ink by Black Elephant Blog author

Equestrian arts at Frying Pan Park

Today the sun came out after a somewhat overcast morning sky and, after various Saturday must-do’s were done, it seemed like the right time to go find horses to paint.  I went for the first time in many years to a certain nearby park and before too long discovered I had truly overachieved.  After  sketching out the scene on my paper, I realized a major equestrian event was about to start literally right around me.

Illustration: “Frying Pan Park,” Watercolor, gouache, and ink by Black Elephant Blog author (2019)

Riders on beautiful horses waited their turn just a few feet away, and judges, photographers and a large audience were perched on a hill below some trees to my left. I couldn’t have planned this better since I arrived just beforehand.  Fortunately my spot next to some conveniently large and flat rocks was not in anyone’s way.  I managed to focus on the scenery and capture some of the horses and riders warming up on lower field before the big competition.   The spring colors of the trees and fields were striking, but I also tried to capture some of the scene right in front of me.  As usual, the master works of such scenes that I know best (from Degas or Dufy, for instance), are in oil paint, not watercolor, and I am thinking to try an oil painting of this scene before too long.  Drawing horses can be difficult but the style of Raoul Dufy is quite loose and freeing, and that is probably what I’ll try next as an experiment.

Illustration: “Chateau and Horses,” by Raoul Dufy

Journey through Childhood Memories

I’ve just returned from a two-week trip to Germany and Austria, mostly to visit with family but also traveling with close family.

Illustration: “Sunset in Heidelberg,” oil on canvas by Black Elephant Blog author (2019)

This turned out to be the long-awaited time when I would return to Vienna, Austria and the international high school from which I graduated many years ago.  It was so special to discover that I still recall the streetcar and bus numbers to get from the inner city to the outer district where my former school is.  The weather cooperated throughout this trip, with snow flurries and cold suitable for January (but no worse).  Lunch over in the neighboring wine district of Grinzing, with light snow falling outside and settling on ledges around the onion domes of a church across the street, finished off the visit to the outer district. Later it was back by the efficient streetcar system to the inner city and, from there again by streetcar, to the Belvedere Schloss to see Klimt art and other paintings.  We had a hot drink in its warm gold and ochre royal cafe with the Belvedere gardens outside covered in snow and a blue-purplish early evening light seen through the windows.

In such weather, however, and in a group of travelers there is less incentive to stop and try to paint or, more likely in such weather, draw.  Outside of Stephansdom, the main cathedral in central Vienna, one hardy soul was painting in oils in close-to-freezing weather.  He was set up to sell them so perhaps had an incentive to paint in his fingerless gloves out in the cold, but the prospect did not hold any appeal to me.

My trip also took me to the Pfalz area for a memorable wine-tasting, to Stuttgart, Karlsruhe,  Heidelberg, and much smaller towns along the Rhine; my early school years were in Bonn, Germany north of where we were on this trip.  One can get most anywhere at almost anytime on the dense network of streetcars, inter-city railroads, and the faster ICE, and in Austria, the OBB trains.  There was almost no need for a car (except for hauling all the wine home after the wine-tasting!)

Back home now, there is some time for reflection and recreation of scenes, including the memory of a sunset over Heidelberg in Germany, as this painted scene from the castle above the town recalls.  A special book in German about Heidelberg fell into my hands during the visit there, recommending itself to me through the wonderful watercolor on its cover and on plates throughout its pages.  It turns out to be a book by a former director of the city’s archives, chock full of history and insights.  Also in Heidelberg, we visited an amazing museum which can be found by going down a quiet drive into a palace area off of the main pedestrian street:  called the Museum of the Palatinate, it has excellent displays covering the history of the many peoples (Celts, Romans, various tribes) who settled in this area.  If you need to get off your feet for a while, you can take a snooze here on a cushioned Roman bench in a recreated Roman dining area; signs in German encourage you to do just that, so long as you take off your shoes!  (For artists and urban sketchers, it may be of interest that the LAMY headquarters is in Heidelberg and a new flagship store full of temptations is on the main drag in the old city.) There is something about travel, and seeking to restore a rusty foreign language ability, that awakens the need to create, to remember, to connect, and to imagine…so perhaps there will be more scenes from my youth coming to this blog.

Georgetown Market Sketch

Illustration: “Dean & DeLuca cafe,” Watercolor in Stillman & Birn Beta Series sketchbook by Black Elephant Blog author (2018)

After nearly a month of rain, the sun is shining in Washington, D.C.  and the humidity is high.  This is more normal weather for mid-summer in this area.  Georgetown in Washington, D.C. was buzzing with visitors and university students this afternoon.  This is a part of the city I’ve come to know well since I first arrived here to attend the university many years ago.  It’s always nice to see the townhouses of Georgetown with their interesting and sometimes quirky architectural details, ornate backyards surrounded by tall brick walls,  the mature trees shading the streets, the great colors, and the tracks of the abandoned streetcars.  There are memories everywhere in this area.

Later, after a bit of walking and shopping, it was time to duck into an air conditioned place–the market house of Dean & DeLuca–and have an iced coffee and sketch with some fellow weekend artists, while others nearby read a book or chatted with friends.

This historic red-brick building dates back to 1865 when it was constructed on top of the foundations of an even earlier 1796 structure – Washington’s oldest market, according to Architect of the Capital blog.

Photo: “Georgetown Market,” National Park Service, 1937, Architect of the Capital blog

Running alongside it, on a passageway between M Street and the C&O Canal, is a dramatic green metal arcade covering a brick patio space where one can sit at any of the many tables.   (One can see from the black-and-white photo of the market as it appeared in 1937 that this arcade  structure did not exist then and is an addition to the market.)

Illustration: Detail of sketch in watercolor and Uniball gold gel pen by Black Elephant Blog author (2018)

It’s a great people-watching spot, and many of the sketchers today drew other people, either from real life or from their extremely rich imaginations.  It’s always fun to see the artwork other people produce on these occasions, and to hear what they are thinking about art and the work that they do.  The stories they tell are reminders, as if one needed any, that the times are very different today for many people than they were even a few years ago.  Issues raised included the cost of a university education, living in Washington, D.C., and the contrasts with countries abroad that consider education and health care public goods and thus ensure that they are affordable.  All in all, there was much “food for thought” after an afternoon spent sketching in a food market.

 

Beautiful Boston in Plein Air

Beautiful days in Boston this week have made it a delight to do some sketching outdoors.

Illustration: “Boston Common,” Watercolor and pen-and-ink in a sketchbook by Black Elephant Blog author (2018)

Lots of people are sitting around outside or out biking, jogging, rowing, dog-walking, playing softball, shopping, sipping wine or coffee, and enjoying the great weather. Sun worshippers pack outdoor cafes.  There is a holiday feeling here in the middle of the week. You do not want to be working in an office on such spectacular days!

Illustration: “Harvard Boathouse” in watercolor by Black Elephant Blog author (2018)

One can soak up the strength and vitality of this country in a great city like Boston.

Illustration: “Boston Public Library,” watercolor and pen-and-ink in a Pentalic sketchbook by Black Elephant Blog author 2018)

Capturing Spring Greens in Hideaway Places

It’s amazing to me that, even around the busiest metropolitan centers, wonderful hideaways still exist that transport you far away from the strip malls, busy intersections and shopping centers that dominate our modern landscape.  These days you can get a news update almost anywhere, but in these little hideaways you’ll find that the natural beauty captures your attention, and you won’t be checking your phone!

Illustration: “Secret Garden,” Watercolor and gouache in a Stillman & Birn “Beta” sketchbook (2018)

Sometimes these jewels are right in our own neighborhood, or at least not far as the crow flies.  One such place in Northern Virginia is a small state park, Colvin Run Mill, which has a still-functioning circa-1900 General Store and still working mill grinding wheat and corn today.  I have driven past this very spot for more than 20 years without stopping–until now.

Illustration: “Colvin Run Mill,” Watercolor, gouache, and pen-and-ink on Arches rough paper (2018)

Many of us hurry by without much choice, for years, without noticing therefore our surroundings.

Illusration: “Lake edge”, Watercolor in Stillman &Birn “Beta” sketchbook (2018)

These days, however, the new greens of spring make one want to take one’s paint kit outside more often—how to capture that beautiful light?  What greens work best?  I’ve been finding that Winsor & Newton Transparent Yellow helps to give some bright greens.

Illustration: “Colvin Run,” watercolor and gouache on Arches rough paper (2018)

Indanthrone Blue and Quinacridone Gold (either the old or the new) gives some great, more olive, shades of green.  And you can always use a sap green, which comes in many different colors, actually.  Happy painting!

Illustration: “Secret Beachview”, Watercolor and pen-and-ink in a Stillman & Birn “Beta” sketchbook (2018)

Line and Wash Watercolors

It’s been a busy few weeks–with a tremendously inspiring March for Our Lives making last weekend particularly memorable!   Art and sketching have had to take a back seat while so much else (much of it historically important) is going on….

With Spring finally here, however, there’s no question that the “plein air” kit of watercolors is going to get more use.  Thus, a refresher in “Line and Wash” watercolor sketching with pen-and-ink in the form of a two-day workshop this week was perfectly timed.  Below some of the paintings I completed in the workshop, the purpose of which was to combine use of pen (such as a fine-point Sharpie, black or brown, or India ink sketched with a bamboo stick) with watercolor washes.

Illustration: “Art in the Park,” watercolor and pen-and-ink on Arches CP paper by Black Elephant Blog author (2018)

Lots more to learn, as always, but it’s fun to be engaged in painting again.

Illustration: “Jackson Square,” watercolor and pen-and-ink on Arches CP paper by Black Elephant Blog author (2018)

Sketching in Jackson Square at Thanksgiving

En route to our Thanksgiving destination, it was warm enough to sit on a bench in Jackson Square, New Orleans yesterday afternoon to do this sketch of Andrew Jackson on a horse.  Sometimes sketching relieves a mind tired of taking in news and lots of sights (most of which we’ve seen before).

Illustration: “Jackson Square” in watercolor and ink on Canson Mix Media paper 5.5″ x 8.5″ by Black Elephant Blog author

 

This afternoon, the square was a relaxing, brightly lit scene with red Christmas ribbons tied on the lampposts at the entrances to the Jackson Square park.  Palm trees twinkled in the sun, while  huge lime-green leaves on the banana trees had a natural sparkle all around the park.  The afternoon’s light was crisp and clear, with fathers watching their toddlers and foreign visitors enjoying sitting on the benches all around the park. Gradually the sun sank lower in the sky and a chill penetrated the shady side of the park. Fortunately  by then I was ready to call it quits, and get back to the sunny side of the square.  Certainly on such a beautiful day in a week of Thanksgiving, there’s lots to be thankful for.  There may be time to set up an easel here tomorrow morning and try to blend in with the street artists!

Königswinter in November

Being in the sleepy town of Königswinter, Germany this week had the feel of walking onto the set of the Grand Budapest Hotel, as if dropped into the town in a different era.  Here, we were near Bonn, the former capital of Germany and, this week and next, the host of the COP23 international climate change summit.  Fortunately the sun was out, bathing the hills, valleys and forests in a wonderful light when I decided to go up on the Drachenfels train to the mountaintop.  The weather was beautiful on this particular November morning, something I was told later was really unusual for this time of year.

Illustration: “Königswinter”, watercolor and pen-and-ink in a Stillman & Birn “Alpha” 8.5″ x 11″ sketchbook by the Black Elephant Blog author (2017)

I was there for a conference and, while the hotel I was in was sleek and modern, I walked into another century when I headed for the hills–the “Siebengebirgen”, or Seven Mountains, right behind the hotel.  The most magical experience was the walk through forests and fields down from the ruins on the hilltop of the Drachenfels and visiting the Schloss Drachenburg, or Dragon Castle.  It’s no wonder that this region–with miles of the Rhein river valley within sight from the mountaintops–has been popular with explorers, artists, and poets, including Lord Byron and J.M.W. Turner,  for many years.  Later, over a magical lunch on the outdoor terrace of the Hotel Monopol along the Rhein Promenade, watching the ships glide by on the river, it was impossible not to feel like I had stepped back in time.  This is a place of dragons and fairytale castles where ornate dining rooms in the sky overlook Bonn and the Rhein for as far as the eye can see.   I’ll have to return to this tranquil place.

Pumpkin Patch Plein Air

Illustration: “Pumpkin Patch,” watercolor and ink on Arches cold press paper by Black Elephant Blog author (2017)

Under a wonderful fall sun accompanied with nice fall breezes, a bunch of us met at an apple and pumpkin-picking farm this weekend for a bit of painting.  Hundreds of people beat us to the place on this beautiful fall Sunday, with scores of children ready to look at the pigs, goats, alpaca, chickens and other animals on the grounds.  It was the quintessential fall scene and a great vibe as everyone dragged their wheelbarrows around to gather up apples or pumpkins.  Many of the people enjoying this annual tradition spoke languages other than English, including German, French, Italian, Spanish, and Russian.  Such a beautiful setting makes you want to come back!

Karlsruhe Marktplatz sketch

A month ago– a mere four weeks–I was sitting on this busy square in downtown Karlsruhe, Germany, enjoying a latte at a sidewalk cafe and idly sketching the scene in front of me, busy (still!) with construction of an underground train system.  I would make sketches of the most normal scenes, because everything offers practice for the eye.  But, now when I pick up my sketchbooks, a whole lot of other memories come flooding back to me.   It is amazing how everything little thing we did on this recent trip is now so utterly important to hold on to as a memory, never to let go at least of this.

 

Illustration: Watercolor and pen-and-ink sketch, “Karlsruhe Marktplatz” (July 2017)

National Gallery of Art Sculpture Garden Sketches

Few places in Washington, D.C. are more relaxing than the fountain area in the sculpture garden of the National Gallery of Art.

Illustration: Watercolor and pen-and-ink on 5″x7″ Stonehenge “Colors” paper

As with most parks and museums in this city, entrance to the sculpture garden is free and it’s open until 7 p.m.  There is a patio restaurant and cafe to one side with indoor air-conditioned seating and ample outdoor seating.

Illustration: Stabilo sepia pencil (“aquarellable”) on Stonehenge “colors” 5″ x 7″ paper by Black Elephant Blog author (2017)

It’s all truly an oasis in the middle of a busy, politically fraught city…and so, yesterday, taking a break from some other concerns, I sat there a while, near the fountain, and practiced sketching some of the people, many of them apparently visitors to this usually beautiful and dignified city.  It’s restorative to see people of all backgrounds and walks of life enjoying the spray of water from the many jets of water criss-crossing the Sculpture Garden pool in huge arcs above.  It’s hard to see how they could leave this city with a bad impression if this garden is representative of their experiences.  And indeed many of the people I watched were in no hurry to leave, staying an hour or more.

Sunday afternoon “plein air” in Maryland

Illustration: “Kensington Fountain,” in watercolor, gouache, and pen-and-ink on a quarter sheet of Canson Heritage hot press watercolor paper by Black Elephant Blog author (2017)

With another lovely day to enjoy, it was time today to join the Maryland ‘plein air painters’ again.  This meant crossing over the Potomac River and setting up a watercolor easel in a lovely small suburban park near the old town center of Kensington.  Plenty of shade and breezes made it a pleasant way to spend a Sunday afternoon.

Photo: Flinn Park fountain on 13 August 2017

Everyone worked in their medium of choice, whether pastels, oil, acrylic or watercolor–there’s no right or wrong here, and nothing to hear but the sound of water falling from the fountain in the middle of the park.

(A note on materials:  These days I am finding the Canson Heritage brand of watercolor paper nice to work with and, perhaps surprisingly, on a par with the Arches brand (and, unfortunately, just as expensive).  I picked up a higher end version of Hahnemühle watercolor paper while in Germany and found it to be quite outstanding, allowing for brilliant colors but perhaps subtly with less “sizing’ than Arches or Canson. This latter paper is hard to get in the U.S.

Regarding brushes, the German-made DaVinci Kolinsky Red Sable watercolor brushes seem to do a good job with keeping a very fine point; I have a #6 and a #8, and can tell that in the hands of a professional, they would more than meet the tasks at hand. And for me, certainly, they are more than adequate.)

My younger brother, who has been mentioned in the last few blog posts, never understood my fascination with art materials.  (Indeed, he privately might have viewed it as a disorder; well, once he did say “that’s crazy,” so there’s a clue.)  He used the first sketchbook (Stillman&Birn Alpha series) I gave him for the last two years, and was on its last pages during our recent trip in Europe.  He was captivated, however, by the fine flow of the Platinum Carbon pen, and also the practicality of the water brush, both of which were gifts from me.  He had none of the interest others have in whether this or that paint is “student” or “artist” grade, nor in trying different sketchbooks (I’d supplied him with some backups). He wanted his sketches to be in chronological order in the original sketchbook, and never wavered from this.  As an artist, he had a beautiful, light style–and even mischievous style, as in a few sketches of people (possibly even us, his family members, but he would not say) on the beach at the Outer Banks.  He also used sketches in his work.  He could carry his entire art kit in a small zipper pouch designed for a looseleaf folder, and he never set foot in an art supply store, so far as I know.  (He wasn’t much a shopper, to put it mildly.)  My brother believed in “quality not quantity” and lived this.  Special memories, may they live on forever.

Lake Reflections #2

Illustration: Watercolor sketch on 5.5″ x 8.5″ 140 lb. cold press Montval watercolor sketchbook paper by Black Elephant Blog author

On a day when a U.S. President seemed to threaten nuclear war (%@?*?!X?), further undermining our security relationships and standing around the world, the sanest thing to do seemed  to be to sit on a quiet lakeside beach and watch people on all manner of boats and boards enjoying a beautiful evening out on the water.  I have a whole lot of paintings to complete, mostly still in my head, from the recent trip to Europe.  Following the sudden, unexpected death of a sibling a couple of weeks ago–a sibling who so recently (only a month ago) was enjoying that same trip to Europe…he,clambering up steep cobble-stoned streets, admiring cathedrals, and admiring a replica of a Bronze Age village built on pilings over water on the edge of Lake Constance in Germany– I am finding I must ‘sketch-crawl’ my way back to working in the bright colors I prefer. It may take a while but enjoying the interaction of watercolor with paper seems likely to help me get there.

As I sit lakeside in the twilight of an evening, I do reflect on how uncommonly good people, such as my recently departed brother (who used to read this blog as it appeared in his email), sometimes have uncommonly rare things befall them, and are taken from us uncommonly early in their lives.  It is too soon to find any sense or solace in this.   But it has long been clear:   We must make more space for such people–the ones like him who are driven by a larger sense of global responsibility—to share their abilities with us while they are here in this earthly world.  The world needs uncommonly good people right now, who act in the awareness that we are all part of a larger whole.  Only by having a critical mass of such people exhibiting their genuine caring and leadership to making the world a better place, can we have a chance (in the remaining time left to us as a species) of tipping the planetary scales into a sustainable direction.  Nothing is more urgent these days, but it is restorative to watch people fishing and stand-up paddle-boarding on this evening as if they had no cares in the world. I will probably do more of that today.

Lake Reflections

August often surprises with some beautiful, low-humidity days in this area.  The beauty of nature never ceases to be awe-inspiring and, these days, a source of healing from a recent extraordinary loss and its ongoing shock waves.  So, out walking the dog earlier in the week, I took out a sketchbook again to try to capture the wonderful scene in front of me.  My personal goals included leaving some white on the page, and letting colors blend on the page even as I tried to keep them separate on the palette.  This is a neighborhood scene rich with weeping willows and even lily pad gardens.  Enormous pond reeds framed part of the view as I sat on top of an over-turned rowboat on the shore.  There’s something satisfying about plein air watercolor painting!  Sitting around this lake–never busy with visitors–is always soothing.

Illustration: Watercolor and pen-and-ink sketch, August 2017, northern Virginia by Black Elephant Blog author

Water/Color in Konstanz,Germany

Illustration: Watercolor and gouache on 12″x 8.5″ watercolor paper, “Harbor of Konstanz”, by Black Elephant Blog author (2017)

They say that for the best views of Konstanz (in the south of Germany on the border with Switzerland), you need to be on the water.  The views from Konstanz, however, seem equally remarkable to me, especially in the changing light at the end of the day.  Recently I sat right down to make a sketch, fascinated with the lemony tinge of the treetops in the evening sunlight and the sailboats in the distance.  Later I made a watercolor of the same scene, experimenting with some watercolor paper made in Germany.  (A great deal of art material we’ve come to expect actually comes from Germany, home of many types of inks, watercolor brushes and the Lamy fountain pen.)

Konstanz is a great city for walking around, and almost everyone here seems to go to work by bike or bus.  The city is nearly surrounded by water, the air is fresh and mild, with nice breezes coming off of Lake Constance, or the “Bodensee” in German.  Three countries border on this vast lake: Germany, Switzerland, and Austria. You can see mountain peaks blending with clouds in the distance, and know you are looking at Austria or Switzerland.  This is a great jumping off point for explorations by ferryboat to the many sights around the lake, including the island of Mainau (pronounced “my-now”) with its semi-tropical atmosphere, palm trees, and an ornate hilltop palace built by Swedish nobility that can be seen from far away.  I’ll save all that for a future post though.   The hordes of tourists reportedly over-running Venice this summer are absent here.  There is no shortage of sight-seers on the ferries but the crowds are manageable.  In short, it’s no wonder this area has long attracted writers, artists, travelers,  sailing enthusiasts–and people seeking to relax in the many spas around Lake Constance.

Illustration: Pen-and-ink sketch of the Stadtgarten, as seen from the Harbor of Konstanz, Germany, July 2017 by Black Elephant Blog author

On a Lighter Note

There’s not much more uplifting than to watch dozens of talented middle-schoolers play in the Baltimore Symphony Youth Orchestra.

Illustration: “Baltimore Symphony Youth Orchestra,” watercolor, gouache, pen and ink by Black Elephant Blog author (2017)

It is hard to imagine how their performance could have been any more professional!!

This concert was held in the Meyerhoff Symphony Hall in downtown Baltimore, Maryland on Mother’s Day 2017.

Half-Truths and Lies

Events recently reminded me of sketches done while wandering in the halls of the National Portrait Gallery in Washington, D.C. not so long ago.  This is an inspiring place which often is missed by visitors to the capital because it is not on the Mall. It is a bit off the beaten path.  But in this Gallery is so much history, so much art, and so much that is astonishing.  It is a relaxing place too with lots of places to sit, including in a covered light- and plant-filled atrium.

“A lie that is half-truth is the darkest of all lies.” – Alfred Lord Tennyson Illustraton: Pencil sketch by Black Elephant Blog author of a bronze bust of Alfred Lord Tennyson sculpted by William Ordway Partridge and located in the Smithsonian Museum of American Art

Co-joined with the Smithsonian’s Museum of American Art (which is where I came across an intriguing bust of Alfred Lord Tennyson), this entire city block is devoted to the proud history and artistic accomplishments of the people of the United States, and visitors to the United States, right up to the present time.  Like the National Constitution Center and Independence Hall in Philadelphia, these two museums present powerful evidence of the fact that this nation is built on a pretty solid foundation, if only we would bother to understand and protect it.

With so much to keep up with these days, it’s more likely than not that we will pay inadequate attention to the requirements for this solid foundation–which is a huge risk that has been with us at least since the onset of the digital revolution.

In our social media-saturated world, we are more likely to be guilty of rushing to judgment than pausing long enough to try to understand what’s going on.  That’s why taking some time out to sit in the National Portrait Gallery can be helpful!  Sketching has a way of concentrating the mind at the same time that it opens us up to new perspectives.  At the National Portrait Gallery, you can bring your drawing tools right inside, and the atrium/courtyard is a perfect place to practice drawing people in motion too.

Marching for Science

Illustration: “Marching for Science on Constitution Avenue in Washington, D.C.” (2017), acrylic on 12″ x 16″ canvas by Black Elephant Blog author

On a rain-slicked Saturday afternoon this past weekend–on Earth Day and March for Science Day–tens of thousands of people walked patiently and enthusiastically down Constitution Avenue holding up signs affirming the importance of science and facts. It was a scene that would have been impossible to imagine (especially:  to imagine even as necessary) only a year or so ago. The spirit of the people seemed high, despite the constant drizzle and occasionally stronger rain. It was a sea of umbrellas; and the biggest challenge for me was to keep my umbrella out of other people’s way.  All around us, scientists, teachers, doctors, and children made their way towards the U.S. Capitol on an otherwise mild Spring day.

The colors and atmosphere of this historic event seemed to call for an effort in the new acrylic paints I’ve just started trying out.  Using several photos of groups of people passing in front of the National Archives afterwards, I found that trying to capture the reflections on the wet pavement was a fun challenge.  In some ways, the scene seemed easier to capture in acrylic than in the more familiar (for me) watercolor.  I’ll now have another medium to choose from in the future.

Wandering through older sketches to make sense of the present

Blog post writing has taken a bit of a backseat lately.  Preparation for classes could be one excuse, but it wouldn’t be true. I guess it’s because I’ve been doing more thinking than drawing in this age of discontinuity.  The recent blast of winter in this area complete with snow and ice this year sadly has been too much for the many blossoms and flowers that proliferated here during an unseasonably warm February. Even the geese on a nearby lake are a bit confused by the eccentric weather.

This sort of disorientation (yes, that exhibited by the geese–as in “where are we?”) has been mirrored by the befuddlement of many people around the world at the jarring reports of current political events, especially domestically–more on that below.  Just as the early blossoms thought that the Spring in February was real, we humans are confused as to the political climate we are living through….

Looking back to look forward sometimes is useful, as paging through older sketchbooks can remind one.  While looking ahead to a forthcoming exhibition of my watercolors and sketches, I came across a few of my sketches from the past:

Illustration: Watercolor sketch, “Dupont Circle,” by Black Elephant Blog author (2016)

Lately, with the sun briefly peering out again, there are more inspiring palettes to explore in the near future…

Illustration: Watercolor sketch by Black Elephant Blog author (2016)

On the geopolitical level of human affairs, the emerging palette is more complicated–even “complex”– a crucial distinction not yet as appreciated as it could be, though “complexity”–as in complex systems–is something we spend a lot of time on in the university graduate class I teach.  Making sense of complex problems is a necessary starting point to resolving them–and is too often a (very intellectually-demanding and time-consuming) step skipped over, as we have recently seen an example of in the healthcare arena.

Similarly understanding this moment in our collective human history requires us to draw from the experience “palettes” of a wide variety of people in order to understand our true options going forward.  I would include in this “experience palette” respected contemporary professors of history, such as Dr. Timothy Snyder–whom I had the privilege of hearing speak in person at a local bookstore recently.  People doing fresh thinking about economics also have an essential role

Illustraton: Watercolor, “”The Thinker’ at the Entrance to Rodin Museum, Philadelphia, PA” (2017) by Black Elephant Blog author

to play in the efforts to apply different palettes to our common future.  And a look back to the founders and founding documents of this American nation would also be essential, as I just did a week ago by wandering through the National Constitution Center in Philadelphia again.

It’s true, at least for me, that once you become accustomed to painting–and more vitally, living and making choices– in ‘plein air,’ it’s harder to settle for bleak cold days–whether due to the weather or the political climate.

We can call up sketches of the past to help us make sense of the present.   Are the things which divide us still more important than taking stock in a clear-eyed way of what actually has happened and what pathways forward lie ahead?  These processes are sometimes known as “scenario practice,” “forward reasoning,” and simply “foresight”–also processes we focus on in class. There is no end to the usefulness of learning we can gain from those who have studied the past, I’ve concluded.   As Professor Timothy Snyder tells us in his work linking the history of Eastern Europe to our present, the choice is (still) ours to make.

 

Learning from the Masters cont’d- “S” for Sargent and Signac

Illustration: Watercolor, pencil and charcoal copy (approximately 9 x 12 on the new Canson Heritage Aquarelle hot press paper) by Black Elephant Blog author of Paul Signac’s watercolor (circa 1926?) of the town of Bourg-Saint-Andeol

In times of uncertainty, there’s no question that a hobby can be helpful! So amid the swirl of information which responsible citizens must keep on top of somehow (greatly taxing the “left brain”), it’s important to make time for that hobby.

It can be relaxing–I imagine sort of like those “zen-tangles”–to take on the task of trying to copy a painting by a master. The beauty of this approach is that you don’t need the perfect day weather-wise–you can try this almost anywhere.

Illustration: Watercolor copy (on a quarter sheet of Arches cold press) by Black Elephant Blog author after John Singer Sargent’s “Simplon Pass” (1911, oil on canvas) at the National Gallery of Art, Washington, D.C.

To serve as my model will either be a photo I’ve taken of the original, as in the case of John Singer Sargent’s (1856-1925) “Simplon Pass” painting in oil, or simply a painting selected from an art book, as in the case of the Paul Signac watercolors I’ve found in a beautiful book, Paul Signac: A Collection of Watercolors and Drawings (Harry N. Abrams, Inc., Publishers in association with the Arkansas Arts Center, 2000).

Signac (1863-1935), like Sargent his contemporary, is best known for his oil paintings, but I came across a couple of watercolors of his during a recent visit to the Barnes Collection in Philadelphia.Signac’s style, known as neo-impressionism, intrigued me as did his compositions, mostly of port scenes with lots of ships and masts. It seems he was an inveterate ‘urban

Illustration: Watercolor with charcoal copy (approximately 9×12 Canson Heritage Aquarelle hot press) by Black Elephant Blog author of Paul Signac’s “Still Life” (c. 1924 or 1918)

sketcher’ as so many of these watercolors clearly were done ‘live’, as it were, at the site.

One learns almost by osmosis about composition, color, and light effects when trying to copy the masters.  It is an elaborate and structured form of doodling as you don’t have to do as much planning but you can still relax and have fun.  There is more pressure when you are doing your own work, from start to finish.  Copying from anyone else, even the masters, is still just copying…–and  not something I want to do as a matter of anything other than as a learning exercise.  As all good teachers will tell you, it’s important to do your own original work, which means using your own photos, if you are using photos, or take the step to obtain permission from the owner of the photo you’d like

Illustration: Photo of book cover

to use.  But in the case of learning from the Masters, there’s nothing like copying to try to re-trace their thought processes and choices (really strategic decision-making!) in composing their works of art. In the end result, usually:   The destination  remains elusive for all but the rarest of artists but the journey’s worth taking, familiarizing me a bit more with individual works of art by the masters.

Great Falls & Textures in Watercolor

On the first official day of winter, it’s time to bring the outdoors painting indoors, and experiment with some of the methods for ‘textures in watercolor.”  The scene here is one of the view a few days ago from a platform overlooking Great Falls from the Maryland side of the Potomac River.   This is part of the U.S. National Park system, which is the celebrating its 100th anniversary this year.  There are ecological wonders in this area found few places elsewhere in the world, and just a short drive from the nation’s capital.

Illustration:  “Great Falls in Winter”, (approx 14″ x 10″)  with watercolor and gouache by Black Elephant Blog author

In real-life, this was a misty scene of blue-grey and Indian red with wildlife, including blue herons, nearby.  With some masking fluid to keep the paper dry for the areas of waterfalls, and some thin strips of drafting tape to preserve the impression of tree trunks in the distance I tried to recapture the scene.  A bit of watercolor seeped under the drafting tape pieces, in the end, but the impression oddly may be more realistic.  In the actual scene there were grays, greens, blues, ochres, rusty red, and white, as well as browns, proving that even “a gray day” has lots of color!

Polar Vortex watercolor

Winter’s definitely here in this region, in more ways than one. Temperatures are now in the teens Fahrenheit, with strong gusts of freezing wind and the occasional brittle limb snapping off the trees…so  it’s definitely not suitable for ‘plein air’ painting. But these wintry scenes, before any snow or ice falls, hold a spell of their own, and are intriguing to try to capture in paint, once you get back inside.

So it was time, after a brisk walk in the cold,  to experiment with some of the techniques I recently learned in a two-day workshop on creating “texture in watercolor.” Who knew we could paint with all manner of tools, and not just brushes? Out came the bits of sponges, the rock salt, the drafting tape (to help mask up spaces on your surface so that you don’t paint over them), the masking fluid (also for covering up spaces), dried leaves, and other treasures for creating different effects, whether for trees or mountain ranges, clouds or water, or something more exotic.

Illustration: ‘Cold Snap”, 10″ x11″ watercolor, gouache, pen-and-ink, a tiny bit of pastel pencil, and acrylic fine gold on Crescent multi-media board by Black Elephant Author

To add to all the experimentation in this painting, I used a scrap of Crescent illustration board as my surface for the first time. It’s actually an off-white cream and I wanted to see what how it would handle watercolor and other media. The board itself curved a bit in the process but can be flattened out.  It was otherwise easy to work with.  I may give this scene another go on it, in fact.  I will return to the issue of texture in watercolor in the not-too-distant future as it’s plainly something best done inside.

Transitions

On what seemed likely to be the last unseasonably warm day of the year, it was great late last week to have some time to get out and sketch along the banks of the Potomac River not far from the nation’s capital. With barely a cloud in the sky, temperatures hovered around 70 degrees–T-shirt weather barely a month before winter’s official start. The scene was placid without even a ripple breaking the surface of the water along the docks of the marina where I chose to sit–something to appreciate for as long as it lasted.

Illustration: “Washington Sailing Marina” in watercolor and gouache by Black Elephant Blog author

The Path Ahead

Unseasonably warm weather and bright light this weekend added to the joys of walking through the fall colors wherever we were.  People strolled in the streets everywhere including in this neighborhood of Old Town Alexandria, Virginia, where the scene (below) in the private garden attached to a historic mansion demanded to be painted.

Illustration: Watercolor and gouache, “The Path Ahead,” on Fluid Cold Press 4″ x 6″ watercolor paper by the Black Elephant Blog author

At every turn in this colonial-era town not far from Washington, D.C., it was impossible to ignore the symbols of our rich history as a still great, if troubled, nation. And it was impossible to forget that this very week,  we will be facing a most consequential election .

And yet, when literally everything is on the ballot, the path ahead  couldn’t be more clear.  As one young voter wrote in an opinion piece today, this moment “can be a moment of all those who  hope for a better future, who believe in American leadership and who know that our best days are still ahead.”  Clearly, current and future generations here and abroad depend on us to engage constructively, and not cynically, with this moment, and thereafter to engage similarly with the process of governing.  There is no other path ahead.

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

Plein Air and Great Service at L’Auberge Chez Francois

During a plein air competition this week hosted by The Arts of Great Falls, Virginia, I had the opportunity to work on the grounds of one of the top French restaurants in the Washington, D.C. area, L’Auberge Chez Francois.

Illustration: Photo of “plein air” watercolor as a work-in-progress by Black Elephant Blog author

Braving unseasonably hot days (over 90 degrees!)  was made easier by the very attentive staff of this deservedly highly-rated restaurant, who came outside to the patio dining area several times to offer a cold glass of sparkling water or iced tea. This was very thoughtful, and probably outside their job description as their paying customers were inside the air-conditioned restaurant.   As it happened, I had my own ice water with me so did not need to accept their offers but their hospitality made what could have been a somewhat uncomfortable setting (due to the heat and occasional biting bugs) more pleasant.

The competition continues (and ends) today but a day already in this heat has left me content to submit only this one watercolor now on sale at the sponsors’ art gallery.  (There is something satisfying about going straight from the field to a gallery even if it is not a juried exhibition!)

Illustration: Watercolor as a work-in-progress by Black Elephant Blog author

This experience is yet another reminder that ‘plein air’ is dominated by oil painters, it seems.  The history of watercolor’s admission into the ranks of accepted mediums for serious art is a fascinating one on which I started a blog post some months ago, and may try to finish soon.  These on-site ventures out into the world of artists (and gracious restaurant staff) are fun tests of one’s ability to frame and execute a concept quickly.  My approach was to go out one day and scout the place for a scene, and then to sketch it in pencil.  The following day I set aside three hours to do the watercolor.  My hope was that the white tablecloths of the scene would provide a brighter contrast; the end result was less effective in this regard than I wanted, but dissatisfaction can be a powerful motivator.  In any case, I popped it into a frame and the sponsors now have it on display.  How fun!  And I will be happy to take it home again, if it doesn’t sell,  as a memory of this experience.

Pictures at an Exhibition: From Sketches to Paintings

As the summer winds down, it’s time to prepare for an opportunity extended to local artists to submit about 10 paintings each to a “solo exhibition” through an Art-in-Public-Places program.  Of course, nine or ten pieces are quite a lot when most of your work is inside sketchbooks.  So, I’ve decided to see if I can convert some of my sketches from earlier in the year into a piece or two which could be included in the final selection of pieces to display.

Inevitably some of the “freshness” (and free-style/sloppy look) of starting a sketch right on-site, especially in a spot so beautiful as the one below, gets lost in the translation process to another sheet of paper far from the scene.  Though, it must be said, there are advantages too of this post-sketch revision, including no exhaust fumes from the local bus lines laboring up the steep road behind you, no tourists impatiently waiting to take your spot, and no surprisingly rapid drying of your watercolors in the heat of direct and intense sunlight.

Illustration: Photo of painting in progress

In any case, here to the right is a photo of a recent attempt to re-do a sketch into another piece.  The sketch at the top of the easel is in a sketchbook and crosses the dip between pages.  It is from  earlier this summer when overlooking the Mexican town of San Miguel de Allende .  Below it is the work-in-progress.

This latter attempt  is seen in a  more finished state in the photo at the bottom of the post.  This is on Saunders Waterford paper (a popular U.K. brand) which I’m finding appealing but seemingly a tad more ‘thirsty’ than the Arches brand, relevant when it comes to issues of transparency raised in the previous post.  (Update: I am close to completing a v2 of this view on Arches hot press.)

As time goes on, I try to factor in lessons I’ve picked up from the reading I’m doing.  For instance, finding those dark values is the first order of business, according to Charles Reid in his book Watercolor Secrets, and then you can move to the lighter values.  This makes sense but is still counterintuitive and even contradicts what I’ve learned in some classes.  (If you need to go back and pump up some lights, there is also a fairly expensive liquid Arches “paper” as a form of white-out for watercolorists–it comes in most shades of watercolor paper whites. It seems a bit like cheating until one reads that John Singer Sargent no less resorted to white gouache rather liberally for similar reasons.  More on gouache and “body color” (and British and American watercolor practices in history) in an upcoming post.

Achieving a balance of transparent and opaque watercolor effects requires skill not only with a brush but also familiarity with the interactions between the types of paper, the amount of water,  and the characteristics of the paints you’re using.  Jim Kosvanec’s book on Transparent Watercolor Wheel (discussed in the previous post) is sure to sensitize any reader to the different qualities of both papers and paints (as of the book’s time of publication in 1994).  And, a heightened awareness of the “staining” and “attacking” qualities of some pigments when they are mixed with transparent ones brings to mind at least metaphorically some real-life situations.   Whether we are dealing with pigments or policies, it seems we must concede (in plain English) that some things just don’t mix: they create “mud.”  Come to think of it, such interdependencies are the stuff of life itself, ever more so given the interconnectivity of everyone and everything on the planet these days. (Who knew that the art of watercoloring might translate to a still larger stage?) Maybe the next time I’m at this overlook, I’ll be able to apply what I’ve learned so far right there in ‘plein air’.  That would be terrific!

Illustration: Watercolor and pen-and-ink, “San Miguel de Allende (v1)” on Saunders Waterford paper by Black Elephant Blog author

 

Fly Fishing Sketch at Violettes Lock, MD

Lazy days of summer continue with brilliant light and colors to challenge aspiring artists, some of whom gathered yesterday near Violettes Lock in Maryland, roughly a half an hour’s drive from downtown Washington, D.C..  The lock is one of about 75 locks, which were used in the 19th century (especially before the advent of the railroad) to regulate the amount of water coming into the C&O canal (which stands for Chesapeake & Ohio).  The canal used to be a major waterway for transporting goods between Washington, D.C. and Cumberland, MD and the main cargo tended to be coal from the Allegheny Mountains, according to Wikipedia.  Today it’s mostly a scenic route along the Potomac River for weekend hikers, bikers, and dog walkers.

At Lock #23, named after the last lockkeepers, the Violettes, to work here, there is a gently sloping patch of ground into a large, calm body of water, which obviously is a popular spot for kayakers , other boaters, and the occasional fly fisherman as seen here.

Illustration:  Bistre ink sketch by Black Elephant Blog author

The colors of the scene changed frequently over the course of several hours, as boaters arrived and departed from the rocky little beach in front of me.

I saved the watercolors for later, finding it a challenging enough scene to do in ink only while at the site.

Quebec Watercolor Sketch

Now back at home under the ‘heat dome” enveloping most everyone in the USA, it’s a good time to finish off sketches started last week during a quick trip (in much, much cooler weather) to Quebec, Canada.

Illustration:  “Balloons over the rue du Petit-Champlain” in Quebec City in watercolor, gouache, and Faber-Castell white artists pen on Arches watercolor paper by Black Elephant Blog author.

Of course, lots of people had the same idea to visit Montreal and Quebec City last week but in general the crowds were quite manageable.  Though it was a short trip, there was time to listen to music on the Place Jacques-Cartier, check out some amazing waterfalls, see the mesmerizing “Pompeii” exhibition at the Montreal Museum of Fine Arts, and buy some watercolor paper made by the “Bee Paper Company” in Canada to add to my small collection of watercolor papers.

The rest of the sketches I’ve made while on this short trip are still in pencil drafts but, with the heat dome effects  (100 degrees or more!) projected to last a few more days, it seems likely I’ll have a chance to get to them. So, until then…

 

 

18th c. Watercolor Studies as a Source of Inspiration

Illustration: Painting of Hubert Robert (22 May 1733 – 15 April 1808) Source: Wikipedia

Inspired by the outstanding exhibition now on at the National Gallery of Art in Washington, D.C. featuring the ink sketches, watercolors, and oil paintings of French 18th century painter, Hubert Robert (22 May 1733 – 15 April 1808), I’ve gone back to experimenting with waterproof inks and watercolor more intensively than ever (as per examples included at the very bottom of this post.)

Illustration: Watercolor by Hubert Robert, 18th century painter (Source: Wikiart)

Hubert Robert’s fantastically detailed watercolors (including use of gouache) are astounding.  Accompanying  placards in this exhibition note that such watercolors tended in those days to be sketches done for more finished oil paintings.  In Robert’s case, however, the watercolors often were at least as detailed as the oil paintings he later produced based upon them.  (Modern urban sketchers will appreciate the fact that Robert filled dozens of sketchbooks (I’ve forgotten the exact number) and one of them is on display in this exhibition; every page, front and back, is filled with wonderful ink sketches done in a deft but loose style.)

In another innovative departure from the times, Robert inserted human figures in many of his paintings–to help give a sense of scale to the structures–and adapted the  fantastical “capriccio” style (or painted architectural fantasy) for his technique of juxtaposing paintings of ruins with other statues or bridges not actually co-located with the ruins in real life. In addition, he included more modern scenes,  including those of contemporary laborers, artists and sketchers, and occasionally probably even himself, at work in the ruins.

Robert grew up in the midst of formal world-class art instruction from an early age, and it certainly shows. During the French Revolution, when he was thrown in prison due to his professional associations with his aristocratic clients, he managed to keep painting (and also managed to survive the ordeal); one of his dinner plates from prison is in this exhibition, with the surface painted with an ornate landscape. In addition, his paintings provide a visual record of life in the prisons during the Reign of Terror; the exhibition includes his paintings of a prison warden, a member of the aristocracy in his cell, and families entering the prison to bring their relatives food.  Seeing paintings from this horrific time cannot help but remind one of the power of art, and wonder how much power still remains untapped in our modern times.

In addition, seeing such sublime art might make one want to throw in the towel, or the paintbrush, as it were.  But it’s just as likely to make you want to learn more…and more…

Illustrations: Ink and watercolor sketches, “Guanajuato with El Pipila Statue on Hilltop”, and “Washington, D.C.” by Black Elephant Blog author

Illustration: Watercolor and pen and ink, “Woman Adjusting Potted Plant on Her Deck” by Black Elephant Blog author

 

Even if most of us can never achieve a tiny fraction of such mastery, it is still wonderful to experiment with the elements of such imaginative painting as Robert’s, and envision the possibilities down the road.

Memorial Day Weekend sketch or two

Venturing into Washington, D.C. on this Memorial Day weekend revealed a city full of  memorial observation underway in numerous ways, from bikers to skaters, and, then, more and more bikers.  Stationed in the middle of the intersection at 23rd Street and Constitution Avenue, facing towards the Lincoln Memorial, was a police officer keeping an eye out for pedestrians who regularly would step–past the bride and groom standing on the median strip!–into the path of the endless river of motorcycles.   The heat, noise, exhaust fumes, and crowds were overwhelming after only 20 minutes, so it was impossible not to feel sorry for this officer who stood there amidst it all without a speck of shade.

Illustration:  Watercolor and pen-and-ink sketch by Black Elephant Blog author

For those of us not on duty, however,  it was still possible to enjoy some cool breezes dining al fresco at a nearby restaurant  opposite this entrance to the George Washington University Park.

Illustration: Watercolor and Platinum Carbon pen-and-ink sketch, “George Washington University,” by Black Elephant Blog author

Guitar Player in the Park

Seemingly endless cloudy and rainy days gave way today to a spectacular afternoon.  In Dupont Circle Park in Washington, D.C.,  a man strummed songs on his guitar in a soothing way. The soft chords he played seemed to erase the sound of the traffic surrounding us.   Each melody was a well-known one to anyone around and listening to music in the 80’s.  The songs blended with the sound of the water falling from the fountain nearby. A perfect afternoon and venue for a quick sketch!  Hopefully the guitar player will return soon for an encore!  (And, hopefully, so will the sun!)

Illustration: Watercolor and Platinum Carbon pen-and-ink sketch, “Dupont Circle Park,”  by Black Elephant Blog author

 

Sunshine in Central Park

This week, after many gloomy days of rain, the sun appeared Thursday afternoon in New York, casting a magic spell especially in Central Park where, it seemed, everyone was out biking, running, and riding in horse-carriages.  Hopefully there will be more days like this soon.  Many horse-drawn buggies carried newly-weds on a tour of the park on this gorgeous afternoon.  It wasn’t easy to cross  a road or to finish a sketch in such an atmosphere of grateful sun worshipping.

Illustration: Pental Stylo water-based pen-and-ink and watercolor by Black Elephant Blog author

Plein Air Sketching in Frederick, Maryland

Illustration: Photo of Bell Tower in Baker Park, Frederick, Maryland

When it seems like water may pour from the sky at any moment (as it has done for nearly the past 10 days in this area), having all your watercolor kit out in the open may not be the wisest move. So in a recent gathering of sketchers and painters in a Maryland park, when the skies and winds suggested rain, it seemed safer to stick with a pencil sketch–at first.

Illustration: Pencil sketch of Bell Tower in Baker Park, Frederick , Maryland by Black Elephant Blog author

The subject in this case was a functioning bell tower–complete with enormous bells  ringing out not just the hour on the hour, but various melodies all day.  To be working on a sketch or a painting in the open air, with breezes, and flowering trees all around, while enjoying the sound of bells ringing out even the national anthem (Francis Scott Key  of Frederick wrote the “Star-spangled Banner” national anthem in the early 1800s) is a special treat indeed.  But here we were in the midst of a well-maintained park which also features a covered bridge and a theater pavilion in the historic district of Frederick, Maryland. The bell tower dates from 1941 and is named after one of the leading citizens of Frederick, Joseph Baker, whose philanthropy helped to ensure the creation of this beautiful park.

The iffy weather discouraged many from participating in this plein air event, but those who made it were amply rewarded when the skies cleared, and the entire lawn was lit up in the colors of a brilliant spring day.

Illustration: Watercolor and pen-and-ink sketch, “Baker Park Bell Tower,” on Arches watercolor board by Black Elephant Blog south

Valuing the Value Study

There’s nothing like being reminded for the umpteenth time to do a “thumbnail.” For those who don’t know, this is a (usually small) simple sketch or two before attempting to dive right into drawing or painting the work you have in mind. Often it takes a teacher to get through to you on this; for those more accustomed to “multi-tasking” and thinking it is doing some good, it requires a bit of discipline to keep slowing down.

Illustration: Value study sketch (Hillwood Mansion grounds) by Black Elephant Blog author

In my experience, this business of reinforcing what we’ve already supposedly learned is one of the main benefits of keeping anchored in a class or two–so that your habits do not become too sloppy. And of course you keep learning new stuff even as you are reminded about the “old stuff.”

So, in the current class in pastel painting, the teacher handed out this handy little value chart (which I’ve protected in a little plastic sheath–see photo below).

Illustration: Photo of value scale

When we do thumbnails or sketches, one purpose (besides mapping out a composition) is to do a value study–a study of the “values” or the tones or shades of contrast. While it is tempting (and normal) to jump right to the details, I have learned that the details often blind us to the really important things in art (and elsewhere?…) –like values, shapes and shadows. This requires re-training the brain for many of us.  Doing value studies is the most direct form of problem-solving I’ve encountered so far in my art education. (And it seems quite transferable to other fields requiring problem-solving.)

While can be more fun to jump straight into colors (and sometimes, depending on what you are seeking to achieve, it is a good idea!), learning to see the values, shapes and shadows has its own delights. Doing this in different media, including water-soluble graphite…

Illustration: Value study in water-soluble graphite by Black Elephant Blog author

and conte crayon

Illustration: Conte crayon value study of Richard Serra metalwork sculpture (East Wing, National Gallery of Art) by Black Elephant Bog author

also provides valuable learning opportunities.

So during a recent visit to the majestic, privately-run Hillwood Museum and Gardens estate in the heart of Washington, D.C., the grounds were so beautiful underneath a

Illustration: Garden sculpture at the Hillwood Mansion and Gardens, Washington, D.C. –Photo by Black Elephant Blog author

clear blue sky that it was nearly impossible to go inside. Instead the sights of flowering trees and bushes, the gentle slope of the “Lunar Lawn”, and ornate garden sculptures were captivating. Frankly, it was a challenge to detect the “values” in different shades in such a riot of bright color. In addition, the diversity of people, from all over the world, and particularly Russian families, made it an even more memorable afternoon.  (The Hillwood Estate of Marjorie Meriweather Post features the most comprehensive collection of Russian imperial art outside of Russia, according to its website.)

Such a glorious visit to the Hillwood mansion gardens has provided much fodder for future practice in value studies and beyond…

•    A small Japanese garden, for instance, features two   whimsical bridges, leading to a roughly sketched out ‘work-in-progress’ in pastel.

• And, a toddler sitting in the tall grass already has provided inspiration for a series of sketches and value studies…
  

  Illustration:  Sketch of Toddler sitting in tall grass at Hillwood Mansion, Washington, D.C. by Black Elephant Blog author