Tuesday, November 23, 2010

AUTUMN PALETTE

oil on canvas paper
6x8
This is a plein aire painting of a small portion of the Governor's backyard in front of windows facing the Susquehanna River. Most of the trees had lost their colorful foliage, but many of the shrubs' colors were still brilliant.

Monday, October 18, 2010

PLEIN AIR PAINTING AT PLUMSOCK FARM


painting right before our easels were toppled by the persistent winds




The two days of painting outdoors on this beautiful farm in Newtown, PA were challenging. The workshop was run by Valerie Craig, a wonderful plein air artist from the Philadelphia area.http://www.valeriecraig.com/index.htm I had been looking for a workshop to attend and Valerie was recommended to me by a high school friend, also an artist. http://www.danireel.com/

The setting and scenery were perfect. The sun was shining, the sky was blue and the autumn colors were glowing. BUT, the temperature was cold and there were gale force winds blowing non-stop. Easels were toppling everywhere. I lost all my turp. Luckily ,Valeri had some to spare. In spite of the constant pressure of holding my easel in place. I managed to do 3 paintings. There were at least 12 of us, and the teacher made several trips around the area to comment on individual paintings and to demonstrate. I got a few tips from her.

One was to mix my colors with a knife and not the brush. In that way, you can place a dab of the color on the canvas to check it against another color. If it's too warm or cool or too dark or light, you can more easily remove it. She also encourages you to mix a lot of a color, so as not to run out of it. Trying to match a mixed color is difficult.

I approach a painting observing light and darks. She suggested determining the warm and cool colors as well. I wish there had been more of a discussion about color palettes and composition.

At the request of workshop participants, we reviewed and critiqued each other's paintings. These critiques would be more beneficial if the teacher and students were not so afraid to offend. Nevertheless, I enjoyed the experience and look forward to painting en pleine aire again, hopefully without the gale strength winds.




Tuesday, October 5, 2010

CAMP HILL ROOFTOPS BY Cecelia Lyden

acrylic on canvas
9x12
This plein air paint session started out about 9:00 with my selecting the No Parking side of Market Street in Camp Hill. What that meant was that there was parking on the other side of the street. I chose what I wanted to paint--one of the charming stores in Camp Hill; but the by the time I finished setting up my easel and squeezing out my colors, the cars and delivery trucks began to park their vehicles right in front of my subject matter. Reluctant to pack up and move, I fixed my eyes on some rooftops, where no cars would get in the way.
I consider myself a closet abstract painter. I love non-representational art of all ilks--abstract expressionism, geometric, color field. I admire artists who can create beautiful works without relying on representation. I've tried it, but I am still in love with the real things around me, so once in a while I attempt to simplify or abstract objects by emphasizing their geometric shape.
In this painting, I have focused on the almost flat geometric shapes of the cut-off buildings, their rooftops, umbrellas, signs and pole. Strong sunshine and shadows and minimal modeling of these shapes helped me to do this.. Also, the overlapping and arrangement of these shapes helped me to create an "almost" abstract painting.

Monday, September 27, 2010

ISLAND NEAR THE SUSQUEHANNA SHORE

acrylic on masonite
8x10
What a joy it is to be outdoors on a beautiful morning in a tranquil setting, painting with eleven other artists-all of us stretched out in various spots along the West Fairview shoreline. It is quite a pleasant sight to see.
My painting, though begun en plein air, was changed significantly when I got back to my studio. After consulting a photograph of the exact section I was painting, I could see that I had awkwardly placed my island and the background buildings on the masonite board. I lowered the buildings, raised the island and added some foliage from the shore.
Our plein air group has described a plein air painting as one that is done mostly on site, with perhaps some finishing touches in studio. This painting, though inspired by the setting, was done mostly in studio from my photograph of the site.

Wednesday, September 15, 2010

STILL LIFE A LA CEZANNE BY Cecelia Lyden



oil on canvas
24x28
I was an art history major a million years ago. There were several artists who became my favorites and Paul Cezanne was and still is one of them. He has been called the"father of modern art", because he began to challenge the notion that 2 dimensional paintings should render depth[ which is 3 dimensional] as realistically as possible, using linear perspective, atmospheric perspective, vertical position, etc. He and, later, most modern artists felt that the canvas was 2 dimensional and objects in the painting should reflect that. He "tilted" tabletops, which brought objects to an almost upright position. He outlined many things which tended to flatten objects. He loved shapes and colors and clung to representationl rendering of things, but latter started to fracture and flatten things, like rocks and mountains.
I am a representational artist. I can't shake my love of things, people, and vistas around me. Though I love recognizing geometrical shapes in all things around me, I have been unsuccessful in my attempts to paint in a non-representaional manner. I like abstract work and respect artists that paint this way. I like Cezanne's still lifes because they combine "modern" ideas and techniques, but still depict the beauty around him in a recognizabe way.

For my painting, I assembled some of my things, some of which resembled objects from Cezanne's paintings. I tilted the tabletop, so as to see more of the shapes . I used a flowing drape and tablecloth to lead the eye around the canvas. I did not concern myself with realistic shadows and used dark lines to separate some of the things on the table. The colors are unrealistically bright. It was fun to paint in this carefree manner. Of course I had Cezanne to lead the way.

Saturday, August 28, 2010

HEY, GET IN LINE LIKE THE REST OF US

acrylic 12"x16"
cecelialyden.com
I did this painting for a CALC chocolate theme art show. The word "chocolate" immediately got my "juices flowing". I took my camera to The PA Bakery in Camp Hill, explained my mission and took several pictures of various chocolate baked goods. I bought some to have the real thing in front of me while I painted [my excuse]. I decided to paint the tray of cookies. My inspiration was that they looked like they were moving, jostling for position on that tray. I try to create the feeling of motion in my still life paintings, a little excitement, so as not to appear staid or dead. I titled this painting, "Hey, Get In Line Like the Rest of Us".
PS. I finished eating the cookies way before I finished the painting and, in fact, remained hungry the entire time I worked on it.