Comments on: Reworking a Plein Air Painting is No Sacrilege! http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege Online Gallery and Personal Blog of Florida's Gulf Coast Artist Mon, 30 Aug 2010 15:20:04 -0400 http://wordpress.org/?v=2.8.1 hourly 1 By: Tom Nielsen http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege/comment-page-1#comment-190 Tom Nielsen Tue, 08 Dec 2009 22:30:27 +0000 http://robertjsimone.com/?p=440#comment-190 Hey Robert, Excellent commentary ... also some excellent comments from the other artists! Decades ago (literally) I recall observing a jury session at a gallery in Washington, DC for a landscape show. Several paintings stood out from the pack because they were very dark looking under the gallery lights. Taking them to some direct sunlight near the window revealed entirely 'new' paintings loaded with color and depth. It was a revealing lesson about what happens when painting without an umbrella in bright sun ... and how unfortunate a few nice plein air paintings didn't make the cut because they needed some indoor adjustments to make them show properly in normal gallery lighting. Love your blog ... keep it up! Tom Hey Robert,
Excellent commentary … also some excellent comments from the other artists!

Decades ago (literally) I recall observing a jury session at a gallery in Washington, DC for a landscape show. Several paintings stood out from the pack because they were very dark looking under the gallery lights. Taking them to some direct sunlight near the window revealed entirely ‘new’ paintings loaded with color and depth. It was a revealing lesson about what happens when painting without an umbrella in bright sun … and how unfortunate a few nice plein air paintings didn’t make the cut because they needed some indoor adjustments to make them show properly in normal gallery lighting.

Love your blog … keep it up!
Tom

]]> By: Douglas Land http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege/comment-page-1#comment-189 Douglas Land Tue, 08 Dec 2009 20:03:11 +0000 http://robertjsimone.com/?p=440#comment-189 I enjoy reading your entries and feel this one can apply to any studies or sketches an artist may create. The purpose of the work should be the determining factor, and to see what you feel is the best "ending." Studies are that, and can be valuable for specific times and purposes. To present works for display with explanations of why they were made is often different than competitions and sales. I enjoy seeing studies and unfinished artist works as they often help me appreciate other, more finished works, by an artist. I like your suggestion of viewing the work in the light it will be seen under. Thanks, Doug I enjoy reading your entries and feel this one can apply to any studies or sketches an artist may create. The purpose of the work should be the determining factor, and to see what you feel is the best “ending.” Studies are that, and can be valuable for specific times and purposes. To present works for display with explanations of why they were made is often different than competitions and sales. I enjoy seeing studies and unfinished artist works as they often help me appreciate other, more finished works, by an artist. I like your suggestion of viewing the work in the light it will be seen under. Thanks,

Doug

]]> By: Kathryn Clark http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege/comment-page-1#comment-188 Kathryn Clark Tue, 08 Dec 2009 16:10:16 +0000 http://robertjsimone.com/?p=440#comment-188 I also agree with you completely and want to add one more reason that it is wise to reconsider your plein air painting indoors and out of the sunlight after the plein air painting session. When we paint out doors, the pupils in our eyes close somewhat from the sunlight and don't present the true picture of the scene and the light in it. Finishing the painting indoors gives one an opportunity to complete it in its future setting and bring the highlights out. I also agree with you completely and want to add one more reason that it is wise to reconsider your plein air painting indoors and out of the sunlight after the plein air painting session. When we paint out doors, the pupils in our eyes close somewhat from the sunlight and don’t present the true picture of the scene and the light in it. Finishing the painting indoors gives one an opportunity to complete it in its future setting and bring the highlights out.

]]> By: Charley http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege/comment-page-1#comment-187 Charley Tue, 08 Dec 2009 15:04:37 +0000 http://robertjsimone.com/?p=440#comment-187 Just an observation(s) regarding "plein aire" paintings, gleaned over these past economically challenged years as discussed with gallery owners and overheard comments from prospective buyers at openings, receptions and many Art Fairs. "They just do not look complete or finished enough to sell" (in this gallery). "It is a charming piece but" seems so hurried and unfinished; "I can't justify that asking pride for just a quick sketch"; "Is that the best that (artist name) can do". This commenter has noted many similar remarks but suspects there is another more insidious and perhaps more risky chance one's "Plein Aries'" presented to prospective Juries or galleries in portfolios', may be the kiss of death. (this from two instances observed by this commenter). For me, I say, "don't hesitate to make a good "plein aire" piece as good and finished as one reasonably can to enhance one's own professional posture to prospective buyers and galleries; many prospects seem to not understand the core idea and purpose behind the "plein aire" movement and galleries want product that sells. Such paintings may serve purposes of the movement but may not be "perceived" to be "fine art" by many others. Just comments from a marketing conscious observer/painter Cheers, ~ Charley Just an observation(s) regarding “plein aire” paintings, gleaned over these past economically challenged years as discussed with gallery owners and overheard comments from prospective buyers at openings, receptions and many Art Fairs.

“They just do not look complete or finished enough to sell” (in this gallery).
“It is a charming piece but” seems so hurried and unfinished;
“I can’t justify that asking pride for just a quick sketch”;
“Is that the best that (artist name) can do”.

This commenter has noted many similar remarks but suspects there is another more insidious and perhaps more risky chance one’s “Plein Aries’” presented to prospective Juries or galleries in portfolios’, may be the kiss of death. (this from two instances observed by this commenter).

For me, I say, “don’t hesitate to make a good “plein aire” piece as good and finished as one reasonably can to enhance one’s own professional posture to prospective buyers and galleries; many prospects seem to not understand the core idea and purpose behind the “plein aire” movement and galleries want product that sells. Such paintings may serve purposes of the movement but may not be “perceived” to be “fine art” by many others.

Just comments from a marketing conscious observer/painter

Cheers, ~ Charley

]]> By: Terry Mason http://robertjsimone.com/art-instruction/reworking-a-plein-air-painting-is-no-sacrilege/comment-page-1#comment-186 Terry Mason Tue, 08 Dec 2009 15:00:55 +0000 http://robertjsimone.com/?p=440#comment-186 I totally agree. I am pretty stringent about following the rules of paint outs that are formal plein air events. When it comes to my own plein air paintings however I find that a little time makes a big difference. Sometimes I turn the painting "to the wall". Sometimes I just put it up where I can see it and just look at it for awhile. The painting tells me what it needs. Maybe it is a little more highlight on the focal point. Maybe it is a change in value somewhere. What I notice is that this exercise makes the painting better. And it makes me think a little more deeply. Works for me. Thanks for the blog on this subject. As always, Terry I totally agree. I am pretty stringent about following the rules of paint outs that are formal plein air events. When it comes to my own plein air paintings however I find that a little time makes a big difference. Sometimes I turn the painting “to the wall”. Sometimes I just put it up where I can see it and just look at it for awhile. The painting tells me what it needs. Maybe it is a little more highlight on the focal point. Maybe it is a change in value somewhere. What I notice is that this exercise makes the painting better. And it makes me think a little more deeply. Works for me. Thanks for the blog on this subject.

As always,
Terry

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