Category: ADK

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How long did Van Gogh take to complete a painting?

The modern plein air movement is only about 30 years old. How is it changing art?
Not nearly finished…36X24.

I worked on one painting all day yesterday, carefully, methodically and in a focused manner. The Adirondacks are in an unstable weather phase, so I was forced off my dock three times by electrical storms. Still, I spent a solid six hours on this one painting. I expect it will take that much again to finish—if I get that time without another storm.

This is a new approach for me. I’m working bigger, slower, and more deliberately. Rushing to make many small works sometimes like writing postcards. The difference makes me wonder how plein air events shape the way we work.
Rocky, for Cape Elizabeth Land Trust, took me 2.5 days to finish.
It’s easy to forget how new modern plein air culture is. In 1985, painter Denise Burns formed Plein-Air Painters of America (PAPA). The next year, her group started an annual exhibition on Santa Catalina Island. The discipline has exploded in popularity with both artists and collectors. Plein air painting is accessible and comprehensible. The Art Establishment may look down on it, but the typical punter loves it.
Today there are hundreds of these events nationwide. There are also nomads whose profession is to participate in them. But these events are very different from getting together with your pals at the town park. For example, I never would have forced my work through a line of storm squalls if I were at home. I could return when the light matched my start, rather than struggling to finish in sub-optimal conditions. In fact, I could work an hour a day for a week on one painting, if I wanted to. None of these options are available for the event painter. We must work fast.
Towering Elms, for Castine Plein Air, only took me half a day.
Festival deadlines give rise to a fast landscape style as inexorably as the Internet has given rise to the 500-word blog post. 
According to the Van Gogh Museum, Vincent Van Gogh “put a great deal of preparation into The Potato Eaters, his first large figure study, working on dozens of preparatory studies. The final painting took ‘many days’ to complete, spread over a longer period of time. However, during the last two months of his life in Auvers-sur-Oise, Vincent completed a painting every day.”
Clearly, that kind of pace can drive you nuts.
Dry Wash, for Santa Fe Plein Air, took the better part of a day.
As a youth, John Constable was a dedicated rambler, sketching in the Suffolk and Essex countryside. These scenes, he said, “made me a painter, and I am grateful.” But this was a low-brow form of education for the time, and the art establishment suggested he not give up his day job. Constable always maintained a strict division between his loose field sketches and his finished paintings.
Paul CĂ©zanne, of course, didn’t have a car to dump his gear into and go. Instead, he painted Mont Sainte-Victoire more than eighty times, from various vantage points. Most frequently, he worked from what is now known as the Terrain des Peintres. It was close to his studio. 
Tom Thomson was transformed into a landscape painter through his intimate relationship with Algonquin Park. His patron, Dr. James MacCallum, said that Thomson’s paintings “made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places.”
The modern plein airpainter doesn’t generally develop that deep relationship with a particular place. On the other hand, we are forced to paint very fast, and that often results in a different kind of energy and verve. And it’s always fresh. We, like our society, are constantly on the move. That’s making a new kind of art.
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No gas in the tank

Four women and a set of jumper cables. Friends helping friends.
Approaching the bridge, 12X16, Carol L. Douglas (unfinished, because I have to knock down the gold in them there trees)

At Parrsboro in June, I met my friend Crista Pisano on the beach. She was tired, in a strange environment, and having a frankly bad day. “I got nothin’,” she lamented to me. It happens to everyone, and all you can do is commiserate. (She went on to do great work, by the way. That feeling is usually fleeting.)

That shouldn’t have happened to me here in Saranac Lake. I’d had a good night’s sleep. I know this area well. And yet I wrong-footed everything yesterday. I drove fruitlessly up and down the highway east of Lake Placid, feeling as if someone had moved everything I loved.
The essence of the Adirondacks is:
  • Water
  • Mountain
  • Atmospherics
  • Boulders
  • Spruces and pines
  • Man’s footprint

My goal this week is to pile as many of them as possible into a single painting, but it certainly didn’t start off well.

I finally settled on a view from Adirondack LojRoad. The parking lot is a great jump-off point if you want to pack up Mount Marcy, but I’d need a mule for all my gear.
I painted looking down at a small bridge that crosses a tributary of the Ausable River. It was lovely but I was twitchy. Crista Pisano stopped by and I showed her the abandoned diagonal in my value sketch. “Put it back in,” she suggested, very reasonably. She pottered off to paint Avalanche Pass and I headed back to town for the Artist Reception at the Hotel Saranac. It’s quietly swank after its recent renovation.
Detouring through Lake Placid, I realized I couldn’t find any of my lovely painting spots because I was on the wrong road. The west branch of the Ausable River is lovely in its own way, but it never hits the high notes of the main stream.
I wasn’t willing to guess which one was hot.
I was chatting with old friends over prosecco and hors d’oeuvres when Crista called. “My battery’s dead,” she said. My Prius couldn’t jump a kid’s electric ride, so Chrissy Pahucki, her daughter Samantha and I headed out on a rescue mission. Chrissy’s nifty hybrid Highlander has all kinds of on-board displays, including a tire-pressure gauge, which told us that tire number two—whichever that was—was getting very low.
Still, first things first. Crista was in the dark in bear country without prosecco.
I know how to attach jumper cables, but was surprised to learn that Samantha, age 17, did as well. “My dad showed me,” she said. That’s a world-class dad.
Samantha and her intrepid mother.
Unfortunately, Christa’s battery didn’t have the poles clearly marked. Reversing the polarity is dangerous for both the cars and the people making the mistake, so, while I had an idea, I don’t like guessing. I called my husband and asked him to search for a diagram on the internet. Meanwhile, Chrissy paged logically through the owner’s manual.
“How to charge a dead battery, page 173,” she read. There was the picture we needed. We were so charged up—ahem—by our success that we stopped in Lake Placid and figured out the slow leak in Chrissy’s tire.
There is nothing so fine as an outdoor shower.
I drove back to my cabin and had a late-night outdoor shower. An unknown creature was baying and the rain hitting the roof lulled me to sleep. Who cares if I’ve forgotten how to paint? This is heaven.
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Why facts matter

What is an artist if not a truth teller? To tell the truth, you must understand what you are looking at.
Painted by Sandra Hildreth from Eagle Island during the ADK Plein Air Festival.

Sandra Hildrethnever wins prizes at the Adirondack Plein Air Festival. She exempts herself because she’s the organizer, but I hate seeing her work overlooked in the jurying. Part of what one registers in art is passion, and hers is very passionate work. She is the Adirondacks’ most tireless art champion, a fine painter whose skills are focused on what she loves.

“I paint what is wild,” she wrote. “It might be a moss covered glacial erratic deep in a tangled old growth Adirondack forest
”
Barnum Brook, 12X48, by Sandra Hildreth.
Full stop here: that’s the difference between Sandra and most of the rest of us. I understand rocks but could never identify a glacial spill under the mess of foliage of an Adirondack hillside.
A student at this summer’s workshopasked me why knowing what we were looking at was important. I was slightly nonplussed, since I like knowledge for its own sake. Still, understanding the natural world informs painting, and Sandra’s work demonstrates this.
Nocturne, by Sandra Hildreth.
Her painting of trees, top, has the authority and authenticity of fact. Her trees could be nothing other than Eastern White Pines clinging to a mountain rock in a cold lake in the northeastern forest. She has told us, as clearly as a photograph could, about the feathery needles, the soft color, the mature mien of the trees, and how the rock has cleaved with great age. Accuracy with drawing allows her to be loose with the paint. It also gives us a whiff of mountain air when we see the painting.
I don’t know Sandra well, but we painted together in a boreal wetlands a few years ago. She’s a friend of my pal and former student Carol Thiel. The two of them clamber around the ADK’s 46 mountain peaks together. Sometimes they bring their paints along on these hikes. Walking in the woods is a powerful learning experience.
Split Rock Falls, by Sandra Hildreth.
Sandra grew up in Wisconsin and has a BFA from Western Kentucky University. She taught high school art in northern New York for 31 years, moving to Saranac Lake after she retired. She paints full time and is a devoted grandmother.
She paints what she identifies as wilderness—not just the splashy big national parks, but the places where man has not yet tamed nature. “They just need to have some of the qualities of wilderness, such as very little evidence of humanity,” she wrote. “Places where nature is dominant, not civilization.”
Eclipse, by Sandra Hildreth.
At some point, an artist moves past what is painterly and beautiful and arrives at what is true. If you want to be a truth-teller, you must first understand your subject. We have all seen paintings of inoffensive, unremarkable trees and rocks. They tell us nothing about the terrifying majesty of nature. They have no lasting power. Sandra Hildreth’s forests are for the ages.