Lisbon impressions in pastel

We returned a few days ago from a 15-day trip to Portugal and Italy, during which time I was carrying a mini-art supply store with emphasis on watercolor paints. I only took them out once, on the riverbank in Porto. (In general, I confined my ambitions to pencil sketches, which familiarized me with the cityscapes I have been working on in different media after returning home.) My intentions to do more were good but we were literally always on the move: touring historic monasteries, having a cappuccino on the Parco do Comercio in Lisbon, visiting little stores in the Alfama district, exploring the Castle of St. George in Lisbon or the Pena Palace in Sintra, taking a tour of the ancient library in Coimbra, visiting the bookstore in Porto where J,K. Rowling got her inspiration to write the Harry Potter series, taking the funicular down from the heights of the fashionable Chiado district in Lisbon, and exploring the seaside area of Cascais, including the Boca do Inferno (Mouth of Hell). People from all over the world had the same idea; there were many tourists from Asia, Germany, Italy, and Spain, but in general the crowds were less than they are in the summer months.

View of the Sao Vicente church and monastery from a mirador (lookout) in the Alfama district, Lisbon (2019), Pastel on grid paper

Suffice it to say there is much to see in Portugal (and Italy, of course), so sitting for the requisite time to do a watercolor was not at the top of the list (admittedly) this time. There is much to cover, and if you enjoy walking, you can simply walk to many of the most interesting sights. There is a lot of history to learn, beautiful tiles to admire, great food to eat and wine to drink, different port wine to taste, markets to explore, and lots of steep cobblestone streets to climb. Another spectacular “mirador”–or lookout–was always right around the corner–unexpectedly opening up into a flat piece of terrain just when you needed a break–and here one could sit, have a drink (or a snack) and gaze at the view, enjoy the breezes, and listen to live music. There are kiosks everywhere where one can buy a beer, wine, or a port, and sit and watch the light change over the expanse of the Tagus River as the sun slides over the western horizon. Shops filled with bags, shoes, hats, placemats and other items made out of cork were everywhere, but usually the quality was good. The ubiquitous T-shirts were noticeably higher in quality that equivalent T-shirts usually available here due to their high-quality cotton content. For those who are thinking of going, I’d also recommend the Oceanarium in Lisbon and the Gulbenkian Foundation Museum. (There are many inexpensive options for places to stay in Portugal—safe, well-located, and even charming–as well as more expensive places to suit every taste, and public transportation, including inter-city trains, is a bargain.)

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View of the River Tagus from a lookout above Lisbon, pastel, 2019

The light was almost always perfect for painting, with the flows of tourists manageable in September. It is a must for a repeat visit. (Our visit to Sardinia had just as special light and very different features, including turquoise seas, and windswept cliffs in a raw sienna hue reflecting the bright sunlight from far away. Really spectacular for the artist, the hiker, and the nature-lover, as well as people who love to sail.)

View of the popular trolley making its way through the narrow streets of the Alfama district, pastel and India ink study, 2019

There is at least one excellent art supply store in Lisbon and it is located next to a fine arts university in Chiado. Online ordering has not yet taken off in Portugal, at least not as much as in the U.S., so the quality of the wares–especially textiles, baby clothes, ceramics, wood, wines and foods, as well as some stationery paper products–were noticeably good. For those who have the time and opportunity to get away and get different perspectives on our present, Portugal is a great choice.

Spring Colors

Spring is finally here even though a chill wind creates little choppy waves and white caps on the lake near my house.   But now, new blossoms around our neighborhood are blindingly radiant.  They won’t last long so we’re trying to take it all in now.  When we’re out walking, they bounce in the breezes overhead  as if tossing folds of white and pink skirts to show off.  Bright forsythia complete the color show.  It’s tempting to set up an easel immediately but a quick check this morning confirmed that the temperatures are just above freezing.

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

It’s hard to believe a year that starts off with such a gorgeous spring could be anything but fabulous (though, of course, sadly, there’s many more reasons geopolitically at least why it might not be–but that surely is for another blog post, and maybe even another blog).  Art is a great way to escape from whatever is preoccupying one. Anyway, it’s time to get out the paints and the pastels, pencils and erasers, and experiment.   No pressures, just to see what happens.

Illustration: “Bouquet,” hard and soft pastel on Claire Fontaine Ingres Pastel “Bright” paper, by Black Elephant Blog author (2019)

Here’s a bit of the latest work, including a pastel on a Claire Fontaine Ingres colored pastel paper made in France.  (Note: this paper has a sort of grid imprint that shows up in one’s work, not an effect everyone is seeking, but I was using it for the background color.)  I’ve found that I can make copies of these on a little printer and give them out as cards, when I need one.

Recently, over the weekend, we had a warm Saturday afternoon, so I set up a watercolor easel downtown in the driveway of an unoccupied ($8 million!) house opposite this cemetery gate.  It was a great spot, just out of the way of the pedestrians with a direct view of the gate.  I’ve been fascinated for several years by the famous Fauvist Raoul Dufy’s treatment of gates (he mainly painted in oils), so perhaps I’ll give this one another try.  It’s the gate to the Oak Hill Cemetery in Georgetown, Washington, D.C.  The cemetery was founded in 1849 and overlooks the Rock Creek Parkway.

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

Spring in the Park

Spring is struggling to make itself known this year. There’s a chill in the air. Cold breezes vied with bright sunshine in Central Park this weekend.  Color and light caught your eye after taking in some artworks inside the Metropolitan Museum of Art.   From the top of the museum, the Manhattan skyline edged the tops of the furthest trees.  One can imagine spring settling in here soon.

Illustration: “Spring in the Park”, watercolor, pastel, gouache and burnt sienna drawing ink on 10″ X 7″ Arches rough paper by Black Elephant Blog author (2018)

Urban Sketching in Pastel

University classes are just about done but, just across the river, students in my pastel class are still in high-gear, clearly in no hurry to have this series of classes end.   Here is a practice pastel worked up in the studio class after some sketches made not long ago.  In the ever-expanding armory of art supplies, NuPastels have been joined now by Sennelier half-stick pastels in 120 colors.  This is a messier medium than watercolor, for sure, and a whole lot more “forgiving.”  It is just about as different as it could be, in fact.  But, how do people go “urban sketching” –especially if traveling abroad–with such an array of tools–hard and soft pastels, paper of all kinds, etc?  More “problems” to solve! 🙂

Illustration: Pastel sketch, “Japanese Garden at the Hillwood Estates, Washington, D.C.” by Black Elephant author

Going Pastel

Joining the ranks of the pastel artists can feel like crossing over to another world; upon introduction where one is welcomed with curiosity, we mention our “medium” and this apparently already says a lot about us to the pastel artists.  Like how we approach a piece of paper, and what color our paper usually is (white, in the case of watercolor people).  Everything we have learned is just the opposite in pastel, where among the pros the affection for this medium is a self-declared addiction.

Illustration: Pastel by Black Elephant Blog author

Like every other endeavor, there’s a certain initial outlay that’s unavoidably necessary when seriously endeavoring to take on a new medium.  Pastel has its own papers and tools. I started with a box of 96 NuPastels and was quite amazed at the colors they produced.  But for blending and other effects, the more experienced all have additional favorites, and it can “add up” pretty quickly.  (I was really glad the NuPastels worked so well as I felt less compelled to immediately go out and stock up on the allegedly even better stuff.)  In addition, pastel pencils are necessary for finer details.  There’s lots to experiment with…  Most of the members of the group I’m learning with have a headstart and produced wonderful things some of which seem like frescos ready for display.  There’s another exciting journey ahead!  And another medium, pretty well-suited to urban sketching, by the way, to add to those I’ve already adopted.

Santa Fe Sketches

Illustration: Pastel by Black Elephant Blog author on grey Canson Mi-Teintes Pastel paper

New Mexico in the early Spring: bright yellow flowers in the snow, white drifts on mountain peaks in the distance, terracotta adobe houses hugging the hillsides, a fresh cold air that catches your breath, a startlingly blue sky, a lovely teahouse along Canyon Road…

From museums, churches, markets, and  hundreds of beautiful outdoor sculptures to parks, shops, and restaurants, there’s much to see and do… and sketch. But on this trip the temperatures have generally been too cold for much outdoor sketching.

Even finding the time to complete a sketch can be difficult with all the attractions all around.

Illustration: Sketch on Strathmore Aquarius II paper by Black Elephant Blog author

There’s the Georgia O’Keeffe Museum, for instance, which brings the story of this amazing artist alive, ensuring that one wants to know more.

Illustration: Georgia O’Keefe’s paintbox on display under glass at the Georgia O’Keefe Museum

And the hundreds of years of history on display in the New Mexico History Museum inside the Palace of the Governors on the Plaza.

 

The colors of the hills and mountains that have made this area a favorite of artists for many years did not disappoint.

 

Illustration: Watercolor sketch, “South of Taos” on Strathmore Aquarius II paper by Black Elephant Blog author

With its rich history, intersection of cultures, and mix of ancient and modern, Santa Fe is a mecca for artists of all kinds. It’s easy to see why they call it the Land of Enchantment!