Painting Big at Leighton's Plein Air Event

The Day before the Leighton’s Plein Air Event I was out painting with Nora. I told her that although I entered the Leighton’s paint out event, I just didn’t usually win those things. I was looking forward to spending the day outside. At best I thought I would be able to have a decent painting for my upcoming show at Palliser Gallery. The night before some clouds rolled in. I was really looking forward to painting dramatic changing skies- my speciality.

On these events the organisers stamp the back of the canvases so that indeed they know the paintings were created in the time frame set. It keeps everyone honest. I said hi to Lindsay and the gang as I brought my canvases up to the booth. I had pulled two for the wet paint competition- a 24 x 36 inch canvas and a 9 x 12 board.

There was a time I did an entire series of sky paintings on boards 2 feet by 6 feet. They are very physical to paint, but I was a lot younger. I also learnt a lot about painting big in the field. I’ve destroyed a few easels with those heavy boards. As well, to be a Plein air artist in Alberta means you need to deal with the wind. As I walked up from where I parked the CRV another artist, who I later learnt was Chris l , teased me that I would be kite flying that day. I hoped that wasn’t true.

I started the day with a small 9 x 12. That’s the size I usually paint in the field. I was drawn to the scrubby little black aspens I’ve seen before. That was my first painting. It was nothing spectacular. The atmosphere was filled with smoke from the California wildfires. It flattens the picture plane and brings all the values together. It offers artists an additional layer of complexity to painting outside.

For the next painting, I wanted to work close to the car for two reasons. One was practical and one romantic. I had brought a bigger sturdy easel along. It folds up so it is fairly easy to transport, but is heavy to carry. I didn’t want to drag it across the fields. The other reason, the romantic one, is that typically I turn the other way. Looking west at the Leighton Centre is that beautiful- almost too pretty-view. By looking east I was headed back to the Prairies, which I love. So I grabbed my peanut butter sandwich, a stable for painting days, and wandered around. There are little snippets of long-range views of fields. I’ve painted them before but today there was little interest there. The clouds I had hoped for hadn’t shown up. The sky was so flat. Because of the smoky conditions, I reckoned I needed a closer view. I needed to find contrast and shadow.

I found both on the road out of the Centre. The shadow striped across the road, leading to a dark mass of bushes. It is a familiar scene on the prairies as farmers plant windbreaks hoping for shelter from the wind. I was able to drive the CRV to the side of the entrance and unpack the easel.

Of course, when I put the canvas out it blew away. There are grass stains on the gallery wrapped sides where the painting hit the ground. Luckily I had rope and even better bungie cords in the car. I was able to strap the canvas by the back brace to the easel. Problem solved.

I wanted the viewer to experience the journey down the road. That dark mass and contrasting shadow were where I wanted their eyes to go. That was the diva of the picture. I used a indrijfklajkljlkk blue and medium to quickly paint in perspective lines leading to this point. I would have to orchestrate some of that tree line and the road to the picture’s advantage. I liked the rhythm of the trees on the back hills so they stayed, but I pushed their value closer to the sky so they could stay in the distance. Those trees were the chorus and not the main act. I also had to lose the detail in the foreground. To create a bit of mystery I used lost and found edges in the bushes and trees. I had to pull some of the smoky pink sky into the road to bring things together. I had to adjust contrast and edges and try to stay true to that first idea.

Most of the painting was painted using two Rosemary Brushes. One was a two-inch angular Ivory series, the other a number 4 Egbert.

The palette I used started out as a limited palette of Marron Red, Quin Gold, Blue and then Titanium white. I quickly decided that I needed to expand this palette to include Cobalt Teal, Cobalt Blue, and Payne’s Grey. I use heavy body acrylic paint. Its what I have always used. I don’t like the texture of open acrylics. I also use a gloss gel medium and a glazing medium.

As I was painting by the road I had a lot of traffic go past. This included foot- traffic and drive-bys. The drive by critiques ranged from, “Hey that’s not bad” to “Like the painting’” to other forms of encouragement. The Leighton Crowd is amazing.

I finished a bit before three and hauled the workup. Time to visit old friends. I also was wiped out. I threw a lot of myself into that painting.

I’ve painted at the Leighton Centre for many years. I’ve met other artists there. I’ve been part of shows there. I’ve had work accepted in shows and rejected from others. There are no grudges, it’s just how things are. I’ve sold work as well as having to collect the unsold. When it’s been the end of another long day I pull out into their drive and turn myself homeward again. I wanted the focus on to be the road drawing us home.

After handing off the painting I stood on the patio and watched people. That was when I realized that I might have done something. People seemed drawn to the work, a good sign.

I feel my paintings are quieter. I don’t often use bright colours, unless I discover them in the landscape. Sometimes these paintings demand that you spend time with them. They aren’t always the first ones you are drawn to because of a bright palette. I’m okay with that.

I was tickled when they announced my name. Who wouldn’t be? The comments and prizes were generous. Going Home placed first in the Leighton’s Wet Paint Competition.

Gerald Mulhall, a lovely poetic painter received third for his work. Theresa won second for her painting of rich colour palette. I know both Gerald and Theresa and admire their commitment to their painting. i thought their paintings both showed the day we had experienced. Oh yeah— that guy in the parking lot, Chris. He won an honourable mention for his watercolour.

The overall quality of the work was fantastic. Alberta has a lot of really great painters. There is a renewed interest in Plein Air painting; this is supported by a rich history of landscape painting. I think this festival is just going to get bigger and bigger. What a fantastic legacy to A.C. Leighton and his Million Dollar view.

So now what? I drove out of the driveway and turned towards home.

I was still exhausted the next day so I stayed close to home. Overnight more smoke blew in from the California Wildfires. I found myself painting in a parking lot behind Riley Park in Calgary. As I was painting I thought of all those who are being displaced by the fires. WIth COVID I am sure there are a lot of people feeling fear and stress. I know there are days my anxiety increases.

I was painting a small 8 x 10 of trees on a hillside. They were just beginning to show a change in colour. Then out of nowhere, I heard drums. I painted while a drumming circle practised. As they played counter-rhythms they laughed. The beat sped up, slowed down, morphed and sometimes came to a sudden stop, only to be re-established. I thought of the fellowship I felt with my fellow artists yesterday. We all still can find community and joy in what we do. We can establish a routine in simple pleasures.

The beat went on.

It drew us back home again.