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Текст
THE GIFT OF ART
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A FRESH TAKE ON THE PRIMARIES
|
THE ALLURE OF FIGURES IN THE LANDSCAPE
A RT
I N S P I R E D
BY
T H E
G R E AT
O U T D O O R S
J A N U A R Y 2 0 24
Larry Cannon
ASMA . LPAPA . CPAP . CWA
Malibu Lagoon
16" x 20"
Fall Vineyard 10" x 14"
C
Mystic Seaport Museum | Chesapeake Bay Maritime Museum | Minnesota Marine Art Museum
Los Angeles Natural History Museum | The Muscarelle Museum | Art Academy Museum Easton
By Dawns Early Light 10x 14"
Fine Art Watercolors
www.cannonwc.com
F
ollowing an extended stay in Europe, William Merritt Chase (American, 1849–1916)
returned to the United States and established a studio in New York City, where he
embarked on a group of plein air paintings inspired by the city’s parks. Influenced by
the brilliant colors and unorthodox compositional formats he’d seen in the works of
the French Impressionists, he often countered a broad, comparatively empty foreground with a detailed background.
In this depiction of what is believed to be Brooklyn’s Tompkins Park, almost half the canvas
is filled by the wide, empty walkway, which carries the eye into the composition with its strong
diagonal borders. This swift movement into space is slowed by the woman on the bench, who
appears to gaze expectantly toward someone approaching along the path. To the left, colorful
flowers provide a contrast to the bare walk at the right. Exuding a sense of freshness and vitality,
this work perfectly captures the activity of a day in the park.
A CITY PARK
William Merritt Chase
c. 1887, oil on canvas, 13 5/8 x 19 5/8 in.
Art Institute of Chicago, bequest of Dr. John J. Ireland
In t h i s i s s u e’s Pl e i n Ai r Po r t fo lio, we s h owc a s e t h e wo rks of 1 6 c o nte m p o ra r y p ai nte r s wh o, li ke
Chase, used figures to engage the viewer and add life to their landscapes.
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PleinAir Magazine (ISSN 2160-0694) is published 6 times annually by Streamline Publishing, Inc., 2263 NW 2nd Avenue, Suite 207, Boca Raton, FL 33431, for $49.97 per year in U.S.A.;
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Plein Air Heritage
014
Publisher’s Letter:
At the Speed of Light
016
Editor’s Note:
It’s Personal
068
PleinAir Salon
076
Plein Air Events
106
Postcards From
the Road
020 PLEIN AIR COLLECTOR
Living With Art: Sometimes it’s love at
first sight; other times it’s a slow burn.
This art collector describes the qualities
that drew him to a favorite painting,
what sealed the deal, and his process
for finding the right spot for it at home.
By David Masello
022 PLEIN AIR PORTFOLIO
Go Figure
028 MARGARET LARLHAM
FOLLOWING PAGE 18
The 2024 Ultimate Guide
to Painting Events &
Organizations
A Play of Drama and Color Creation:
This theater veteran digs deeply
into subject matter, making multiple
versions of a scene with varying
degrees of abstraction, all while taking
full advantage of pastel’s vibrancy.
By Bob Bahr
036 MICHELLE JUNG
The Artist’s Discovery of Self in
Subject: From plein air landscapes
and seascapes to large-scale florals,
the through-line of this artist’s work
emanates from her love of nature.
By Jenn Rein
COVER IMAGE:
Paris Café
Vladislav Yeliseyev
2020, watercolor, 14 x 21 in.
Private collection
Plein air
042 MORGAN
SAMUEL PRICE
DIGITAL SUBSCRIBERS:
Look for this icon to find
additional images and stories.
010
D e c e m b e 4
2 0 2 3
- J a n u a r y
How Figures Fit Into Plein Air: The
people in this Florida artist’s paintings
bring vitality and charm, but they
also create visual opportunities and
compositional solutions.
By Stefanie Laufersweiler
2 0 2 4
050 LOREN EAKINS
Where Science Meets Art: This
Colorado biologist and painter uses
the observational skills of both fields to
paint the truth in the landscape.
By Bob Bahr
056 SPECIAL FEATURE
The Gift of Art: Seasonal small-works
sales provide the perfect opportunity
for collectors to pick up a painting
from a first-class artist at a great price.
Aimee Erickson and Jed Dorsey share
the appeal of these works and the
reasons the sales are a win-win for all.
By Kelly Kane
062 THE ELEMENTS
Mix Up Your Primaries: This
watercolor artist identified one
mistake his students were making over
and over again — using the wrong
colors when mixing grays. He says the
solution comes down to selecting the
right primaries for the job.
By Vladislav Yeliseyev
EXPANDED DIGITAL EDITION CONTENT
The Reluctant Impressionist
J. Alden Weir traded a painting of a
flower for a farm in Connecticut, and it
transformed his approach to painting.
By Jill Stefani Wagner
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Watchful Eyes, 24x24, Oil
WORKSHOPS
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AnneBlairBrown.com
Figures in Landscape
Considerations in Painting
a Figure in the Landscape
Posing a figure in an outdoor landscape instead of the studio presents unique
challenges. With the model away from controlled indoor lighting, the artist has
the opportunity to capture the figure in an ethereal moment influenced by the
environment.
Working in the evanescent light and shifting atmosphere, the artist must quickly
determine the composition and values. With such fleeting conditions, the artist must
be hyper-focused and decisive. A quick thumbnail sketch can be useful to confront
any potential problems head on; by adhering to this value structure, the artist will
have a reliable roadmap from which to work. Photographs may be a useful aid in
rapidly observing and understanding the subject.
And which takes precedence in this dynamic relationship, the figure or the
landscape? Will the figure be overshadowed by the landscape, or will it dominate the
foreground as a focal point with the landscape a supporting actor? These are some of
the questions that arise when the artist first confronts the subject.
There is a constant, often subtle interplay between the figure and the landscape.
The relationship can evoke larger issues of free will or the power of nature, but
interestingly, the two can also peacefully coexist in a meditative, often sun-dappled
state. The composition is paramount, as figures can be closely grouped or interspersed
throughout. By creating a dynamic, challenging background, the painter may subtly
evoke a mood within the viewer. A painting can be transformed by merely changing
the landscape. The background will enhance the figure, or vice versa.
Robin Caspari
Maidens, VA
The Yellow Dress, 7 3/4 x 12 in., oil
recaspari@gmail.com | www.robincaspari.com
Gallery Inquiries Welcome
Jalais Hill, Pontoise, (1867), Camille Pissarro
French painters often used staffage — human and animal figures depicted in a
landscape but not the primary subject matter. In Jalais Hill, Pontoise (1867), Camille
Pissarro created a colorful composition in which closely grouped, smaller “sundrenched strollers” meander along a curving roadway.
Having participated in workshops, I recall the challenges of painting a model
in costume sitting on the branch of an apple tree in Putney, Vermont, or a model
posing nude on a classic garden bench along the Hudson River. Additionally, the
time the artist has to work is a consideration. Often, after a few hours, the sun will
have shifted so that it is nearly impossible to continue and the artist and model must
return another day. Now that is a challenge! But a new day will bring a new outlook
and perhaps an even better painting. So I encourage all our readers to challenge
yourselves with this unique opportunity.
Here, we’ve compiled a sampling of figures in the landscape. Enjoy, and perhaps one
can find it’s home with you.
Katherine Jennings, Contributing Writer
Sandhya Sharma
Bethesda, MD
Winter Morning in Kathmandu (Nepal), 18 x 24 in., oil on linen panel
Sandhya@sandhyasharmafineart.com | www.sandhyasharmafineart.com
Figures in Landscape
Alexandra Tyng
Narberth, PA
Perigree, 50 x 42 in., oil on linen
alexandratyng@aol.com | www.alexandratyng.com | Instagram: www.instagram.com/alexandratyng
Represented by Dowling Walsh Gallery, Rockland, ME; Watson Gallery, Stonington, ME
At the Speed of Light
O
n our recent European Fine Art Trip
but it was his attempts to quickly and loosely cap-
with sister publication Fine Art Con-
ture a fleeting moment of light that caught my
noisseur, I was exposed to two exhi-
attention.
bitions that commemorated the
As painters, we tend to be overly concerned
100th anniversary of the death of Joaquín Sorolla
with producing a masterpiece on location. Cer-
(1863–1923), with a focus on his plein air painting
tainly many are capable of doing so, but there is
journeys. For years I’ve seen photos of Sorolla paint-
a similarity in the plein air studies of Sorolla and
ing outdoors on 5-foot-square canvases, but rarely
Zorn. Their goal was simply to capture the essence
any pictures of the artist doing studies.
of a scene, to be refined later.
Both exhibitions featured large plein air
Eric Rhoads holds Anders Zorn’s
4-color palette during a private
tour at the Zorn Museum in Mora,
Sweden.
paintings, loosely completed, with multiple fig-
plein air painting. Is it plein air if it’s touched up
ures, using house-painting brushes. But there
later? Should it be completed in one session, or is
were also dozens of small studies, ranging from
it okay to go back multiple times? Since there are
2 x 4 inches up to 20 x 24. Most were tiny sketches
no plein air police, I don’t think it matters, other
that captured the essence of the scene, from
than when it comes to following the rules of plein
which Sorolla later crafted larger paintings.
air events, festivals, and quick draws. The goal is a
I fell in love with these studies because of their
great painting. If something is flawed, and a touch-
freshness and sense of light and movement. It turns
up will make it better, I see no harm. The rules you
out he did some in just five or 10 minutes because,
follow are entirely up to you.
like all of us, he had family to entertain when on
vacations to places like Mallorca or Valencia.
Earlier on the trip I spent two days with Dr.
D e c e m b e r
a chance to paint more places. Sometimes I turn
around from one spot I’m painting and immediately paint another. The key is to capture the light
Mora, Sweden. Because part of the museum was
(Monet said it changes every seven minutes) and
closed for remodeling, I got to enjoy a rare experi-
the essence of the scene.
Keep it fun, keep it light, and make it what
ilege of looking through a room of over 100,000
you want it to be. Don’t feel pressured about rules
items from Anders Zorn’s (1860–1920) collection
or a certain way things have to be done. Plein air
of painting gear, collectibles, costumes, fabrics,
painting isn’t always about perfection; it’s about
and more (with the director carefully monitoring,
enjoying your time on location and growing from
of course). I was able to hold Zorn’s famous 4-color
the experience.
palette in my hand, then was surprised to learn
014
Additionally, making small studies gives you
Johan Cederlund, director of the Zorn Museum in
ence: I was given a pair of white gloves and the priv-
B. ERIC RHOADS
CHAIRMAN/PUBLISHER
E-mail: bericrhoads@gmail.com
Phone: 512.607.6423
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Instagram: @ericrhoads
I often hear people debate what is or is not a
P.S. When we launched PleinAir Magazine
that he rarely used it himself. He got the idea from
for the first time, in 2004, there were fewer than
studying Velázquez, who often used only black,
five plein air events in the world. Today there are
yellow ochre, vermillion or red, and white. But for
hundreds, as you’ll see from the Ultimate Guide
Zorn, the 4-color palette was a PR gimmick, a prop
to Painting Events & Organizations in this issue.
for photos or self-portraits. In reality, he used all
I encourage you to attend, participate in, and sup-
the colors that were available to him.
port as many events as possible. And if your area
I also got to view a range of Zorn studies. He
lacks one, it’s up to you to start one. Our experts
did a tremendous number of paintings in water-
on the PleinAir Magazine team can guide you
color and oil, some very finished and detailed,
through best practices.
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It’s Personal
P
KELLY KANE
Editor-in-Chief
kelly@
pleinairmagazine.com
outdoorpainter.com
lein air practitioners and aficionados
universal truth about the nature of solitude. In his
are lucky to have a robust — and
essay on page 20, Masello shares the story of how
growing — number of events and
he came to fall in love with the work — from the
festivals to celebrate their appreciation
moment he first saw it hanging on display in the town
for outdoor painting in this country. Year round, top
museum to meeting the artist (and her daughter) at
artists from across the United States are invited to
the event, caring for the piece as it dried, and finding
join regional and local artists in drawing inspiration
just the right spot for it in his home.
from a particular area. The communities where such
To help you find a beloved addition to your own
events take place not only enjoy the opportunity
art collection, we’ve compiled the 2024 Ultimate
to see the artistic process up close, they get to
Guide to Painting Events & Organizations. Mark
experience familiar sights anew through the eyes of
your calendars now with new and favorite events
the visiting artists who put their own unique spins
near you, or plan a trip to participate in an event
on the landscape.
you’ve always wanted to attend. There is so much
Subjects, styles, and even the mediums the artists
skilled and inspiring work created every year at
use vary. Exhibited together at the end of the event,
such events, you’re sure to find a painting (or two)
the work tells a rich story of place. So what makes one
that resonates with you.
painting stand out from the rest? For the competition
In the meantime, this issue offers a taste of the
jurors, it’s a great many factors, both objective and
exciting plein air work being produced today — from
subjective. For the collector, it’s often more personal.
the dynamic figure-filled landscapes of Morgan
Sometimes it’s fond memories of a local landmark that
Samuel Price, a veteran of the plein air event
draws the eye and tugs at the heartstrings. Sometimes
circuit, to the work of relative newcomer Loren
it’s the artist’s unique brushwork or aesthetic that
Eakins, an artist and biologist who responds to the
speaks to the collector. And sometimes, it’s just a
landscapes he studies in both oil and watercolor.
feeling. For no definable reason, the piece grabs hold
From the traditional plein air studies of Michelle
of the viewer and won’t let go.
Jung that inspire large-scale, contemporary floral
Such was the experience of David Masello at
studio pieces, to the rich depictions of landscape
the Plein Air Easton art festival several years ago. A
in varying degrees of abstraction by pastel artist
seasoned arts writer and collector, he knows skilled
Margaret Larlham. And finally, the work of Aimee
work when he sees it. Still, it was the “element of
Erickson and Jed Dorsey, who share the joys of
poetry,” as he describes it, that convinced him to
painting and collecting small works in this issue’s
Ʉ
claim a particular piece as his own at the event. A
special feature, “The Gift of Art,” on page 56.
facebook.com/
pleinairmagazine
seemingly prosaic view of small-town Maryland,
Enjoy!
the piece resonated with this New Yorker for its
x.com/pleinairmag
ɑ
Instagram.com/
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016
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ART FAIR OPPORTUNIT Y ON SUNDAY
For more info, email Anne O’Brien at aobrien@Carmel.IN.gov
or call 317-571-2787 • CarmelOnCanvas.com
PUBLISHER
B. Eric Rhoads • bericrhoads@gmail.com
X: @ericrhoads • Facebook: /ericrhoads
Instagram: @ericrhoads
EDITOR-IN-CHIEF
Kelly Kane
kkane@streamlinepublishing.com
MANAGING EDITOR
Brida Connolly
bconnolly@streamlinepublishing.com
PRODUCTION DIRECTOR
Nicolynn Kuper
nkuper@streamlinepublishing.com
CREATIVE DIRECTOR
Alfonso Jones • alfonso.streamline@gmail.com
ART DIRECTOR
Kenneth Whitney • kwhitney@streamlinepublishing.com
DIRECTOR OF SALES & MARKETING
Katie Reeves • kreeves @streamlinepublishing .com
VENDORS — ADVERTISING & CONVENTIONS
Sarah Webb • swebb@streamlinepublishing.com
PROJECT MARKETING SPECIALIST
Christina Stauffer • cstauffer@streamlinepublishing.com
SENIOR MARKETING SPECIALISTS
Dave Bernard
dbernard@streamlinepublishing.com
Helen Wallace
hwallace@streamlinepublishing.com
Megan Schaugaard
mschaugaard@streamlinepublishing.com
Gina Ward
gward@streamlinepublishing.com
NATIONAL SALES CONSULTANT
Jeffrey Strahl
jstrahl@streamlinepublishing.com
MARKETING COORDINATOR
Briana Sheridan
bsheridan@streamlinepublishing.com
SALES OPERATIONS SUPPORT
Katherine Jennings
kjennings@streamlinepublishing.com
PLEIN AIR TODAY
CherieDawn Haas, Editor
cdhaas@streamlinepublishing.com
SUBSCRIPTIONS
561.655.8778 or www.pleinairmagazine.com
ALSO VISIT THESE STREAMLINE
PUBLISHING WEBSITES:
PleinAirToday.com
ArtPodcasts.com
PleinAirSalon.com
ArtMarketing.com
PaintTube.TV
InsideArtToday.com
RealismToday.com
AmericanWatercolor.net
Attention, retailers: If you would like to carry PleinAir Magazine
in your store, please contact Tom Elmo at 561.655.8778. One-year,
6-issue print and digital subscription within the United States:
$49.97. One-year, 6-issue print and digital subscription, Canada
and Europe: $86.97. One-year, 6-issue digital subscription: $24.97.
Copyright ©2024 Streamline Publishing, Inc. PleinAir Magazine is a trademark
of Streamline Publishing, Inc. All rights reserved.
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According to art historian
Jean Stern, plein air painting is the largest
movement in art history … and growing.
If you study art history as extensively
as I have, you’ll learn that evidence of plein
air painting goes back a few hundred years.
Over time, painters have been inspired to
take sketchbooks, brushes, and canvas outside, and small plein air movements have
arisen. The best known were Impressionism, Post-Impressionism, and the Barbizon
School. But each of these involved just a
handful of artists.
Of course, America has its own rich history with the Hudson River School, which
involved sketching, oil sketching, and, in
some rare cases, full paintings on location. Later, artists like Theodore Robinson,
J. Alden Weir, and a small number of others
who had lived and studied in Paris brought
their impressionist styles back to America.
As a result, plein air movements grew up in
the East and in the West.
But never in the history of art has there
been a movement this large, a movement
that has become a lifestyle. I like to say it’s
the new golf. Whether amateurs, hobbyists,
or professionals, thousands of artists are living the lifestyle of outdoor painting. Plein
air painting has become a sport, and, like
golf, it is mentally challenging and stimulating, it’s social, and it’s relaxing and allows
you to forget everything else for a while. It
involves being outdoors in beautiful places,
provides some exercise, and can even lead to
world travel.
But unlike golf, it means using your
creative brain and is an outlet for developing your artistic ability. And for some it can
provide an income, or at least the gratification of being occasionally involved in shows
or sales.
We are seeing hundreds of thousands
adopt this lifestyle, which means more
painters’ groups, more events and shows,
and more people being exposed to and collecting original art. They are also joining
the exotic trips PleinAir Magazine has created (Cuba, Africa, New Zealand, and this
March, Japan), and attending retreats that
are all painting and no workshops, like my
Adirondack and Fall Color Week events. Of
course they want to be part of a community
and want to learn and grow, which is why
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the Plein Air Convention & Expo regularly
attracts a massive crowd of painters. We’ve
seen thousands of new faces joining our
events since the pandemic.
Our PleinAir Podcast has also been
bringing more people into painting, with
over 1.5 million downloads from more than
100 countries. Just like last time, we expect
hundreds of new plein air painters to show
up at our next convention — people who
have never painted before and who will buy
all their supplies at the event. And we’re seeing more young people coming into the plein
air lifestyle; our PleinAirMag Instagram site
is exploding with new people. And as a result
of the daily YouTube show on painting that I
call Art School Live, we’ve reached 5 million
people worldwide to promote painting.
Our role is to not only create experiences that scratch people’s itch to participate, but to hold up the best examples of
quality and encourage growth and high
standards.
This annual guide is evidence of the
continuing success of this movement. We
all play a role in keeping it moving forward,
helping it grow, and keeping standards high
so that plein air does not become known for
fast, low-quality artwork but for high-quality paintings, often created after years or
decades of experience. When we started this
magazine there were fewer than five plein
air events worldwide. Today there are hundreds. We’ve listed the biggest, most meaningful events here.
We can keep this movement growing
and alive for generations to come by helping others discover plein air painting — reinforcing my new goal of helping 10 million
people learn to paint, because painting outdoors changes lives. We each play a role in
this movement by exposing others, teaching in order to raise quality, holding highquality shows, and promoting plein air
painting worldwide. Thank you for your
role in this giant movement!
B. ERIC RHOADS
CHAIRMAN/PUBLISHER
E-mail: bericrhoads@gmail.com
Phone: 512.607.6423
Facebook: /ericrhoads
Twitter: @ericrhoads
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BUILDING
COMMUNITY
THROUGH
PAINTING EVENTS
& ORGANIZATIONS
A Guide
for Artists,
Collectors &
Organizers
Mike Major and
Hans Quinonez
paint the views
at the Laguna
Plein Air Painters
Association’s
Sounds with Plein
Air Paint Out — a
community
outreach event
organized to
support the 21st
Annual Laguna
Beach Music
Festival.
One
visit to a plein air painting event immediately busts two common myths about
the art world. Rather than angsty artists holed up in their studios for weeks
on end, you’ll find painters happy to
engage, lined up along small-town streets or dotted around local parks.
Collectors mingle amongst the artists and admire paintings fresh off
the easel. But they’re not the stuffy, overdressed sort from television
and film. They’re everyday people who appreciate the artists’ views of
familiar landscapes. It’s a community experience.
An artist attracts onlookers at Plein Air Grand Marais (photo by Allison Eklund).
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HOW FESTIVALS WORK
Typically, events involve artists painting on weekdays in designated
areas and then submitting their completed works for an exhibition and
sale over the weekend. The organizers invite or jury top artists; offer
opportunities to learn about materials, equipment, and techniques;
encourage collectors to buy plein air paintings; and celebrate the idea
of painting specific locations. These events are “win-win” opportunities for the organizers, patrons, cities, and artists.
The easiest events to participate in are those that don’t require
advance registration and are open to anyone who shows up and pays a
nominal fee. These community-oriented events are often fundraisers,
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Gospel singers
and dancers
perform for Plein
Church during the
Forgotten Coast
en Plein Air event
(photo by Michael
Yelvington, FOMO
Photography, St.
George Island, FL).
Painters capture
the scene of the
live performance
(photo by Michael
Yelvington, FOMO
Photography, St.
George Island, FL).
and the artists donate all or a large percentage of the money they
receive from selling their paintings. These events offer artists an
opportunity to test their level of interest in timed plein air events.
Even at invitational or juried events, there is often an opportunity for
amateur or semi-professional artists to paint and compete in the twohour quick draws.
MEMBER & INVITATIONAL EVENTS
These events can be as casual as a “paint-out” for artists who belong
to a plein air group and just need someone to pick a location and date,
or they can be as high-powered as the Laguna Plein Air Painters Invitational event in California. The artists that participate in the Laguna
event are selected by committee and sent invitations to participate.
Another type of invitational is organized by an art school, commercial gallery, or civic group that wants to hand-pick the participating artists.
Ordinarily most of the participants are connected to the host
organization, but others submit examples of their work and ask to be
invited. One of the largest of these invitationals is the Door County
Plein Air Festival in Wisconsin, which, according to the group’s bylaws,
must invite a significant number of artists who did not participate in
the previous year’s event.
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JURIED SHOWS
This is the most common type of plein air festival. The organizers put
out a call for applications, artists submit digital images through an
online jury system, and an outside person or persons selects as many
artists as can be accommodated. There is almost always a fee to apply,
and it is usual for an artist to submit digital photographs of three paintings. Most artists submit their best plein air paintings, especially those
that have won awards in previous events, but others make sure to enter
paintings that will catch a juror’s eye and are easy to understand and
appreciate in a split second.
Plein air events of these types are almost always fundraisers for
the host organization or some designated charity like a school, art
center, or foundation. Commercial galleries will also host events as a
way to make money, bring attention to their regular stable of artists, or
bring out collectors who might become clients of the gallery.
PUBLICITY EVENTS: QUICK DRAWS, NOCTURNES,
LANDMARKS
One of the best ways to build an audience for a plein air event is to
schedule timed activities and have them take place in a specified location. That makes it easier for people to find and observe a group of
artists working on location, and these events are perfect material for
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A visitor goes in for a closer look at the paintings completed for the Crested Butte Plein Air Invitational.
local newspapers to feature. Two-hour quick draw and nighttime
(nocturne) painting events help to bring attention to artists and the
event in which they are participating, and they offer another opportunity to sell paintings, since most of these timed competitions end with
completed work being displayed and offered for sale.
In another variation, plein air artists are expected to spend a day
painting in a specific town, historic district, or near a historic landmark. The motivation is essentially the same: the scheduled events
encourage people to travel to that designated location, get to know the
artists, and purchase paintings.
When time is limited by the rules of a quick draw competition or
by the disappearing light at dusk, artists tend to paint on smaller panels and quickly block in the important pattern of light and shadows. It
helps to identify a good location in advance of the event, perhaps even
checking out locations after sunset a day or two before so the artist
will know where the interior and exterior lights might work well in a
nocturne.
COMMUNITY ENGAGEMENT
Event organizers continually look for new and unique ways to involve
the local community and share the experience of seeing artwork
created firsthand with more people. Technology can play a part.
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Attendees of the North Carolina Plein Air Art Festival in New Bern,
North Carolina, use a real-time cell phone app to find the locations of
featured painters each day.
Locals and visiting artists can also come together for special community events that offer distinctive experiences and provide interesting painting subjects at the same time. Plein Church, a plein air gospel
service, presents a spirited early-morning event for worshippers and
painters alike on the first Sunday of the 10-day-long Forgotten Coast
en Plein Air in March. Held on the waterfront in Apalachicola, this
event features a lively gospel service with music and dancing, which
plein air painters capture in their work. With shrimp boats gliding by
and sea gulls wheeling overhead, this open air service also features a
blessing of the easels.
SALES & AWARDS
Buying art is a very personal and individual decision that is hard to analyze. The final selection is influenced by individual taste, interest in the
subject, ability to pay the asking price, and the level of energy during the
opening of an exhibition. Likewise, the decision made by an awards judge
(or jury committee) is just as personal and subject to the taste, standards,
and — yes — sometimes the personal relationships between the judge and
the competing artists. No judge will ever deliberately play favorites or
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The community takes in the work created for the
Olmsted Plein Air Invitational Quick Draw.
Members of the Ohio Plein Air
Society show off paintings from
their annual competition
William Suys captures a
charming street scene
during the Door County
Plein Air Festival.
pay more attention to signatures than painted images, but human nature
and personal taste will always influence their final decisions.
Several years ago, the staff of Plein Air Easton in Maryland conducted research and found that many folks who buy competition
paintings were as interested in learning how to paint on location as
they were in building a collection of plein air paintings. In particular,
men and women who knew exactly when they would retire used the
event in Maryland to explore the idea of becoming visual artists after
they concluded their professional careers. The festival provided the
perfect opportunity to see paintings develop from start to finish, ask
questions about the decisions made by the artists, and buy the paintings that could remind them of the lessons offered by the painter —
findings that suggest education is one of the ways artists can attract
interest in their paintings.
INTANGIBLE BENEFITS
There are many positive aspects to being a participant, volunteer, or supporter of plein air events, both on a personal and a professional level. One
has the chance to talk with other artists, learn about materials and techniques, support the nonprofit partner of a festival, buy or sell paintings of
hometown scenes, make progress in one’s skills and style of painting, and
establish friendships with creative people.
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Volunteers and staff members spend months in advance of an event
trying to increase award purses, smooth the daily procedures, prepare for
the exhibition, promote participation and sales, and offer every comfort
possible to the artists. Families open their homes and provide accommodations, meals, snacks, and warm hospitality to the participating artists.
Those volunteers and staff members offer a valuable service to artists,
collectors, and community members, and are a key contributor to the
success of these events.
COLLECTORS’ PERSPECTIVE
Plein air painting events offer collectors a chance to acquire work that is
imbued with authenticity and a connection to nature. Each piece represents a specific moment in time, with the artist responding to the
changing conditions as they capture an intimate perspective on the
scene. The paintings feel alive and energetic, conveying the artist’s
emotional connection to the subject.
Given the chance to interact directly with the artists, often while
they’re creating the work, collectors are familiar with the painter’s experience, the location, and the conditions under which the artwork was
created. This narrative adds depth and interest to the artwork and can be
shared with others, making the art more engaging and meaningful.
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The
of The
Plein Air Painters Colorado
High Canyons (9 x 14 in., oil on panelmounted linen) by Damien Gonzales
Here’s a look
at some of
the awardwinning
work created
at plein air
events across
the country
this past year.
Plein Air Painters of New Mexico 15th
National Juried Show
First Light (7 x 10 in., oil) by Lee MacLeod
Paint Grand Traverse
Working on the Madeline (20 x 20 in., oil on
panel) by Kari Ganoung Ruiz
Plein Air Southwest
Middle of the Day (12 x 16 in., oil)
by Durre Waseem
Highland Lakes Creative Arts, Paint the
Town Marble Falls
Simply Cottonwood (20 x 10 in., pastel)
by Julia Fletcher
Plein Air Smokies
Contrejour (18 x 14 in., oil on linen panel)
by Charles Newman
Telluride
Cornet Blues (24 x 18 in., oil)
by Marc Anderson
Wayne Art Center 15th Annual Plein Air
Festival & Exhibition
Old Ridge Rd. (26 x 40 in., oil)
by Henry Coe
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Blowing Rock Art History Museum
Grand Manor (14 x 14 in., oil on panel)
by Katie Dobson Cundiff
Bluff Strokes
Let the Light Shine In (20 x 16 in., oil) by Todd Schabel
Door County Plein Air
Hollyhock and Bumble Bees at Anderson’s (25 x 20 1/2 in.,
oil) by Bethann Moran-Handzlik
New Iberia, Shadows-on-the-Teche
Morning Search (12 x 24 in., oil on panel) by Kari Ganoung
Ruiz
EnPleinAir TEXAS
Previous Water (24 x 24 in., oil/acrylic) by Vlad Duchev
Gilmer Plein Air
Gilmer County Courthouse (20 x 17 in., pastel) by Preston
King
Ohio Plein Air Competition 2023
Hemlock Falls (12 x 16 in., pastel on LuxArchival sanded
paper) by Karen Jennings
North Carolina Plein Air 2023
Visiting their third sister (10 x 12 in., oil) by Durre Waseem
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Outdoor Painter Society,
Middle of the Day (12 x 16 in., oil) by Durre Waseem
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2024 CALENDAR OF EVENTS
BRUSHES BY
THE BEACH
E n j oy f a l l
painting, beach,
b ay, h i s t o r i c
homes, and
wo r k i n g p o r t .
Join us for G
L e e G a l l e r y ’s
B r u s h e s by t h e
Beach.
2024 ANNUAL ST GEORGE PLEIN
A I R F E S T I VA L
Find unique inspiration in the
local colors of the Southern Utah
L a n d s c a p e w i t h m a ny b r e a t h t a k i n g
l o c a l c a nyo n s t o c h o o s e f r o m .
PA I N T D E X T E R P L E I N A I R F E S T I VA L
T h e P a i n t D e x t e r P l e i n A i r Fe s t i va l
i s a n a n n u a l Fe s t i va l h e l d i n D ex t e r,
M i c h i g a n d u r i n g t h e t h i r d we e k o f
August.
JANUARY
January 12-February 4, 2024 Paint the Desert
January 24-26, 2024 (Essential Techniques Day, January 23)
Watercolor Live Presented by PleinAir Magazine
MARCH
March 3-9, 2024 Lighthouse ArtCenter Annual Plein Air Festival
March 4-8, 2024 18th Borrego Springs Plein Air Invitational
March 6-8, 2024 (Essential Techniques Day, March 5) PleinAir Live
Presented by PleinAir Magazine
March 9-16, 2024 Shadows-on-the-Teche Plein Air Competition
March 15-24, 2024 Forgotten Coast en Plein Air
APRIL
April 13-21, 2024 Olmsted Plein Air Invitational
(Tenth Annual — Atlanta)
April 15-20, 2024 Artists on Location
April 21-27, 2024 Paint the Town
April 21-27, 2024 Sixteenth Annual Winter Park Paint Out
April 24-27, 2024 En Plein Air Frisco 2024
April 24-28, 2024 8th Annual St. Augustine Plein Air Paint Out
MAY
May 5-10, 2024 Wayne Art Center 2024 Plein Air
Festival —16th Annual
May 5-11, 2024 Plein Air Southwest 2024
May 11-18, 2024 Paint the Nebraska Sandhills
May 12-19, 2024 North Carolina Plein Air Art Festival — New Bern
May 14-21, 2024 North Carolina Plein Air Festival
May 15-18, 2024 Paint Menokin
May 18-25, 2024 Lost Sierra Plein Air Festival
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NORTH
CAROLINA
PLEIN AIR
F E S T I VA L
Judge Suzie
B a ke r, 2 0 2 3
NC Plein Air
Fe s t i va l , N e w
Bern, NC
May 18-25, 2024 The Arts of Great Falls
May 20-24, 2024 11th Annual Plein Air Convention & Expo
JUNE
June 1-7, 2024 Boulder County Plein Air Festival
June 1-July 31, 2024 Paint Under the Big Sky
June 2-9, 2024 Paint Annapolis 2024
June 6-9, 2024 Paint It! Ellicott City 2024
June 8-15, 2024 Plein Air: A Paint Cedarburg Event
June 8-15, 2024 Plein Air West Reading 2024
June 8-15, 2024 Paint Adirondacks Presented by PleinAir Magazine
June 15-22, 2024 Paint Grand Traverse
June 15-October 11, 2024 Berkshire Plein Air
June 30-July 6, 2024 21st Annual Telluride Plein Air
JULY
July 15-20, 2024 Cashiers Plein Air Festival
July 17-27, 2024 Driggs Plein Air Festival
July 20-28, 2024, Art in the Open Festival
July 21-27, 2024 Door County Plein Air Festival
July 26-27, 2024 Georgetown Plein Air 2024
July 28-August 3, 2024 Plein Air Montana 2024
July 29-August 3, 2024 Frank Bette Plein Air Paintout
AUGUST
August 7-10, 2024 11th Annual Paint the Point
August 8-11, 2024 De Smet South Dakota Harvey Dunn Plein Air
August 12-17, 2024 Adirondack Plein Air Festival
August 12-17, 2024 Paint Dexter Plein Air Festival
August 20-24, 2024 2024 Blowing Rock Plein Air Festival
August 26-31, 2024 Plein Air Glacier
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P L E I N A I R : A PA I N T
CEDARBURG EVENT
150 artists gather in
Cedarburg, Wisconsin
(J u n e 8 -1 5) . H i s t o r i c
d ow n t ow n , q u a i n t
f a r m l a n d , a n d L a ke
Michigan shoreline,
p r ov i d e e n d l e s s
artistic inspiration.
S E D O N A P L E I N A I R F E S T I VA L
T h e S e d o n a P l e i n A i r Fe s t i va l
i s a we e k- l o n g c e l e b r a t i o n o f
ex t r a o r d i n a r y l a n d s c a p e s ,
wo r l d - r e n ow n e d a r t i s t s , u n i q u e
wo r k s h o p s , a n d wo n d e r f u l f r e e
eve n t s !
S H A D O W S - O N -T H E TECHE PLEIN AIR
COMPETITION
Juried artists will spend
t h e we e k p a i n t i n g
i n s eve n p a ri s h e s
(c o u n t i e s) w i t h i n
Acadiana, competing
f o r ove r $ 1 0,0 0 0 i n
cash prizes.
PA I N T I T O R A N G E
P L E I N A I R PA I N T
Paint it Orange Plein
A i r P a i n t- o u t . O c t o b e r
2- 4 , 2 0 2 4 . C h a p e l
Hill - Carrboro Hillsborough, North
Carolina
SEPTEMBER
OCTOBER
September 6-14, 2024 Outdoor Painters of Minnesota
September 6-14, 2024 Plein Air Grand Marais
September 7, 2024-January 20, 2025 Grand Canyon
Celebration of Art
September 8-14, 2024 Alla Prima Westcliffe
September 9-14, 2024 Sonoma Plein Air Festival
September 10-14, 2024 Suffolk Plein Air Festival
September 11-14, 2024 Roger Tory Peterson Institute
Plein Air Festival
September 13-15, 2024 Plein Air Paint Out in Carmel, Indiana
September 18-20, 2024 (Essential Techniques Day, September 17)
Pastel Live Presented by PleinAir Magazine
September 19-21, 2024 7th Annual Black Hills Plein Air Paint Out
September 20-22, 2024 21st Annual Plein Air Competition
September 20-28, 2024 2024 Annual St George
Plein Air Festival
September 20-29, 2024 Escalante Canyons Art Festival
September 21-28, 2024 Plein Air Smokies
September 22-28, 2024 The 4th Floyd Plein Air Biennial
September 27-29, 2024 Culver & Lake Maxinkuckee
Visitor Center
September 27-October 26, 2024 25th Annual National Juried
Exhibition
September 29-October 5, 2024 Bluff Strokes 2024 Paint Out
September 29-October 6, 2024 Monuments and
Canyons Plein Air Event
September 29-October 6, 2024 Fall Color Week Presented by
PleinAir Magazine
October 2-4, 2024 Paint It Orange Plein Air Paint-Out
October 3-5, 2024 Plein Air Abingdon
October 3-20, 2024 Brushes by the Beach
October 5-13, 2024 26th Annual Laguna Plein Air
Painting Invitational
October 5-13, 2024 Cape Ann Plein Air 2024
October 10-13, 2024 Bisbee Plein Air Festival and Competition
October 10-13, 2024 Farm to Forest Plein Air Festival
October 14-19, 2024 Hudson Valley Plein Air Festival
October 14-19, 2024 Two Rivers Plein Air
October 18-26, 2024 Sedona Plein Air Festival
October 20-26, 2024 EnPleinAirTEXAS
October 28-November 2, 2024 Plein Air Fairhope
NOVEMBER
November 6-8, 2024 (Essential Techniques Day, November 5)
Realism Live Presented by PleinAir Magazine
ONTARIO, CANADA
October 17-20, 2024 The Great Migration Paint-Out Plein Air
Painting Competition, Exhibition, and Sale
WESTERN AUSTRALIA
September 21-23, 2024 (extended September 17-24) Plein Air
Down Under, Peel Region of Western Australia
IRELAND
July 20-28, 2024 Art in the Open Festival
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Alabama to Arizona
Alabama
Plein Air Fairhope
Dates: October 28-November 2, 2024
Opening Reception: November 1, 2024
Entry Deadline: September 15, 2024 Sponsoring
Organization: Eastern Shore Art Center
Venue: Eastern Shore Art Center City: Fairhope State:
Alabama Format: Open
Award Total: $2,000
Contact: Adienne Clow Phone: 251.928.2228 E-mail:
adrienne@esartcenter.org
Website: https://esartcenter.org
Join the Eastern Shore Art Center for a weeklong
community celebration of painting in the great
outdoors! From sunrise to sunset, 60 painters will
take it to the streets and bayfront pier in picturesque
Fairhope, Alabama! Work created during the “paintout” will be available for purchase in a special Wet
Room and on exhibit for two months. Event includes:
Exhibit Awards, Workshop, Gallery Talk, and Quick
Draw.
Pike Road Paint Out
Contact: Patty Payne Phone: 334.272.9882
E-mail: patty@pikeroad.us
Website: www.pikeroad.us/events-1/pike-road-12thannual-plein-air-paint-out
Arizona
Grand Canyon Celebration of Art
Dates: September 7, 2024-January 20, 2025
Opening Reception: September 14, 2024
Entry Deadline: Monday, January 15, 2024
Sponsoring Organization: Grand Canyon
Conservancy
Venue: Kolb Studio at the South Rim of Grand
Canyon National Park City: Grand Canyon State:
Arizona Format: Juried
Contact: Kathy Duley Phone: 480.277.0458
E-mail: kduley@grandcanyon.org
Website: www.grandcanyon.org
Grand Canyon Conservancy’s Celebration of Art is a
wonderful tradition at Grand Canyon National Park,
providing a vibrant experience for visitors, a venue
for artists inspired by the canyon, and a successful
fundraiser to benefit an art venue at the South Rim.
Since its inception in 2009, Celebration of Art has
invited participating artists to paint “en plein air” for
a week at Grand Canyon. The works produced during
this time are shown alongside studio-produced
pieces at the historic Kolb Studio in an exhibition and
sale for four months, both in-person and online.
Bisbee Plein Air Festival and Competition
Dates: October 10-13, 2024 Opening Reception:
October 12, 2024
Entry Deadline: Friday, October 11, 2024 Sponsoring
Organization: Central School Project
Venue: 43 Howell Ave. City: Bisbee State: Arizona
Format: Open
Juror(s) of Awards: TBA Award Total: $800
Contact: Laurie McKenna Phone: 520.732.0064
E-mail: bisbeecsp@gmail.com
Website: www.centralschoolproject.org/plein-airfestival
Oct. 10-13: Artists come each year to paint Old
Bisbee’s historic architecture, sprawling staircases,
narrow streets, industrial mining remnants, and
colorful homes set amidst the scenic Mule Mountains
to compete for $800 in prizes. On Saturday afternoon
artists gather for the judging and prizes at Central
School Project. The art-loving public is invited, and
they purchase the work right off the easels and walls.
We hold a jurors’ show and meet-and-greet Friday
night and other activities in conjunction with the
competition. We guarantee serious painting and fun.
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Arizona to California
2024 Blowing Rock
Plein Air Festival
August 20th - 24th
blowingrockpleinair.org
Grand Manor by Katie Dobson Cundiff
(2023 Winner)
Wet Paint Sale
August 20th, 11am - 5pm
Thanks to last year’s sponsors:
cheapjoes.com
tweetsie.com
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hemlockinn.net
Sedona Plein Air Festival
Dates: October 18-26, 2024 Opening Reception:
October 25, 2024
Sponsoring Organization: Sedona Arts Center
Venue: Sedona Arts Center City: Sedona
State: Arizona Format: Invitational, Juried Juror(s)
of Awards: TBA Award Total: $10,000 Contact:
Julie Richard Phone: 928.282.3809 E-mail: julie@
sedonaartscenter.org
Website: www.sedonapleinair.com
Sedona Arts Center invites you along to be inspired and
experience master artists painting in the Shangri-La
of the Southwest! Sedona is a sublime and stunningly
beautiful environment steeped in art history. Sedona
Arts Center dates back 66 years to the founding of
Sedona’s identity as an “art colony.” Our community’s
iconic and creative event — Sedona Plein Air Festival —
is a weeklong celebration of extraordinary landscapes,
world-renowned artists, unique workshops, and
wonderful free events!
California
Paint the Desert
Dates: January 12-February 4, 2024 Opening
Reception: January 20, 2024
Entry Deadline: January 8, 2024 Sponsoring
Organization: Desert Plein Air Association Venue:
Artists Center at the Galen City: Palm Desert State:
California Format: Open
Juror(s) of Awards: Steven Biller, Crystal Curtis, George
Stern Award Total: $1,000
Contact: Diane Moore Phone: 760.485.6798
E-mail: desertpleinair@gmail.com
Website: www.desertpleinair.org
The Desert Plein Air Association is proud to announce
the 3rd Annual “Paint the Desert” Festival is OPEN FOR
REGISTRATION through January 8, 2024. Our previous
Festivals have been a big success, and we are happy to
build on that in 2024 by offering an expanded exhibition
of three weeks. The 2024 “Paint the Desert” Festival will
be presented at the premier museum-quality galleries
of the Artists Council at the Galen in Palm Desert.
18th Borrego Springs Plein Air Invitational
Borrego Art Institute
Dates: March 4-8, 2024 Opening Reception:
March 9, 2024
Juror(s) of Awards: Rick J. Delanty
Contact: Kay Levie Phone: 619.701.8132
E-mail: gallery@borregoartinstitute.org
Website: www.borregoartinstitute.org
Fourteen invited artists will compete in a paint-out
March 4-8. A Quick Draw will be held March 6. Juror
of Awards for 2024 is Rick J. Delanty. The awards
presentation and reception will be held at the Borrego
Art Institute Gallery on March 9, 3-5 pm. Paintings will
hang in the Gallery through April 14, 2024.
Lost Sierra Plein Air Festival
Dates: May 18-25, 2024 Sponsoring Organization:
Bear Creek Frames
Juror(s) of Award: Frank Serrano City: Quincy
State: California
Format: Open Awards: $3,250 cash and prizes
Contact: Mark V Reynolds
E-mail: mark@lostsierrapleinair.com
Website: www.lostsierrapleinair.com
Come join us for our third annual plein air festival. Plein
air artists of all abilities converge on the little-known
area called the Lost Sierra to paint the vast vistas, small
towns, and beautiful valleys. There will be painting
demonstrations, workshops, and the artist reception
and awards ceremony in the Veterans Hall in downtown
Quincy. The festival will culminate with a quick draw
competition and “Off the Easel Sale” at the Lost Sierra
Artist Street Fair in downtown Quincy on May 25. Artist
Reception May 24.
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California
Frank Bette Plein Air Paintout
Dates: July 29-August 3, 2024 Opening Reception:
August 10, 2024
Entry Deadline: April 4, 2024 Sponsoring
Organization: Frank Bette Center for the Arts
Venue: South Shore Center City: Alameda State:
California Format: Juried
Contact: Margaret Fago E-mail: communications@
frankbettecenter.org Phone: 510.523.6957
Website: www.frankbettecenter.org
Experience the Island of Alameda.
In 2005 the Frank Bette Plein Air Paintout began
hosting up to 40 juried artists for a week of painting
tree-lined streets, stately Victorian homes and shops,
picturesque marinas, historic naval ships and a
former naval air station, as well as beaches, lagoons,
parks, and the island city of Alameda, California. 19th
Annual Frank Bette Plein Air Paintout, July 29-August
3, 2024. Apply: onlinejuriedshows.com
Sonoma Plein Air Festival
Dates: September 9-14, 2024 Sponsoring
Organization: Sonoma Plein Air Foundation Venue:
Historic Sonoma Plaza City: Sonoma
State: California Format: Juried
Juror(s) of Awards: Juried Art Services
Contact: Irene Cook E-mail: sonomapleinair@gmail.
com Website: www.sonomapleinair.com
Nationally acclaimed artists gather to paint for one
week throughout the Sonoma wine country, Marin,
San Francisco, and our spectacular coast. Artists
enjoy housing, welcome reception, artists’ luncheon,
patron gala with silent art auction, and finally, a 1-day
art show and sale on beautiful Sonoma Plaza. The
festival has supported arts education and creativity
development for Sonoma Valley youth since
2002. Sixty percent of sales to artists; 40% to the
Foundation for funding local youth arts education.
Juried entry applications accepted from early
January to February 28, 2024 at sonomapleinair.com.
26th Annual Laguna Plein Air Painting Invitational
Start: October 5-13, 2024 Opening Reception:
October 12, 2024, with Collectors Gala
Sponsoring Organization: Laguna Plein Air Painters
Association City: Laguna Beach
State: California Award Total: Over $50,000
Contact: Toni Kellenberg Phone: 949.291.0882
E-mail: toni@lpapa.org
Website: www.lpapa.org/laguna-plein-air-invitational
Each year the Laguna Plein Air Painters Association
invites the top award-winning plein air painters to
gather in Laguna Beach for the annual Laguna Beach
Plein Air Painting Invitational. The 2024 Laguna
Invitational will take place the week of October
5-13, 2024, and include free and ticketed events
throughout the week, with the Collectors Gala
hosted at the Laguna Festival of Arts on Saturday,
October 12, 2024. October 6: Annual Quick Draw
Painting Competition; October 13: Invitational Art
Show & Painting Demonstrations.
Laguna Plein Air Painters Association
Contact: Toni Kellenberg Phone: 949.291.0882
E-mail: toni@lpapa.org
Website: www.lpapa.org/laguna-plein-air-invitational
In 1996, a group of local artists decided to band
together to paint the coastline and canyons of
Laguna Beach. That single get-together would
evolve into one of the most prestigious highpowered plein air painting groups in the country. You
can be a member of LPAPA no matter where you live.
LPAPA members can submit for juried shows, attend
member paint-outs, and access online workshops,
podcasts, and more.
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California to Florida
Monterey Bay Plein Air Painters Association
Contact: Linda Elling Phone: 831.238.1094
E-mail: lindaelling@gmail.com
Website: www.mbpapa.org
Monterey Bay Plein Air Painters Association
(MBPAPA) is a nonprofit organization of dedicated
plein air painters inspired by the sea and
landscapes of the extended Monterey Bay Area.
We enjoy weekly paint-outs, host workshops and
demonstrations, and hold three juried exhibitions
each year. Our members are friendly and dynamic,
a mix of leading landscape painters and local
amateurs, learning and encouraging one another
along the way. Membership is open to all. Visit our
website: www.mbpapa.org
Fall Color Week Presented by PleinAir Magazine
Dates: September 29-October 6, 2024
Sponsoring Organization: PleinAir Magazine
Venue: Asilomar Conference Center
City: Pacific Grove, CA
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: fallcolorweek.com
PleinAir Magazine’s Eric Rhoads lives in a place
where fall color isn’t great, so he created the
Fall Color Week retreat in various locations
during peak color season annually. It’s a week of
painting with old friends and new ones. We have
our meals together, and we stay on the same
property … all for one price. This year we’re taking
a break from fall color and going on a Coastal
Adventure in Southern California. We’re going
to paint locations like Old Fisherman’s Wharf,
Cannery Row, Carmel and Carmel Beach, Lovers
Point, and Point Lobos. Come enjoy the beautiful
coastal scenery without competition, just painting
alongside your friends. No meals to cook, no one
to care for, just roll out of bed, get fed, and paint
all day. It’s glorious.
Fallbrook Art Association
Contact: Julie Compton Phone: 805.794.0709
E-mail: pastelsbyjulie@gmail.com
Website: www.fallbrookartassn.org
Gualala Arts
Contact: Kendra Stillman Phone: 707.884.1138
E-mail: kendragualalaarts@gmail.com
Website: www.gualalaarts.org
Colorado
Boulder County Plein Air Festival
Dates: June 1-7, 2024 Opening Reception:
June 8, 2024 Entry Deadline: February 1, 2024
Sponsoring Organization: Open Studios Venue:
Niwot Feed Store Gallery
City: Niwot State: Colorado Format: J
uried Juror(s) of Awards: TBD Award Total:
$3,700 Contact: Mary Horrocks Phone:
303.748.9132 E-mail: mary@openstudios.org
Website: www.openstudios.org
Open Studios of Boulder County will host 25-35
juried plein air artists to paint the stunning vistas
of Boulder County and its surrounding landscape.
Capture the beauty of the foothills of the Rocky
Mountains, historic architecture, creeks, lakes,
ponds, and agricultural land of Boulder County.
Exhibit and sale to run from June 8 to July 5 in the
charming, art-savvy historical town of Niwot. See
Café (callforentry.org) for application information.
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21st Annual Telluride Plein Air
Dates: June 30-July 6, 2024 Entry Deadline:
January 10, 2024
Sponsoring Organization: Sheridan Arts
Foundation Venue: Sheridan Opera House
City: Telluride State: Colorado Award Total:
$15,000
Contact: Ronnie Palamar Phone: 970.728.6363
Website: www.telluridepleinair.com E-mail:
ronnie@sheridanoperahouse.com
Each summer, over the Fourth of July weekend,
the Sheridan Arts Foundation hosts 20-25
nationally renowned plein air artists in beautiful
Telluride, Colorado, for a week of outdoor art.
The Telluride Plein Air Festival has become an
indispensable part of Telluride’s Independence
Day festivities, allowing locals and tourists alike
to observe some of the nation’s top plein air
artists at work. The festival culminates in a threeday sale, where the artists display the work they
have created all week long. The festival has over
$15,000 in cash and prizes and is a fundraiser for
the historic Sheridan Opera House.
Georgetown Plein Air 2024
Dates: July 26-27, 2024 Opening Reception:
July 27, 2024 Entry Deadline: July 12, 2024
Sponsoring Organization: Georgetown Trust for
Conservation and Preservation, Inc.
Venue: Georgetown Old School, formerly
Heritage Center City: Georgetown State:
Colorado
Format: Qualified plein air artists Juror(s) of
Awards: TBA Award Total: $900
Contact: Ruth Rosenfeld Phone: 303.569.0289
E-mail: artschair@georgetowntrust.org
Website: www.georgetowntrust.org
Seventh annual plein air event in vintage,
picturesque Georgetown, Colorado, 45 minutes
west of Denver at 8,500-ft. elevation, in the
Georgetown-Silver Plume National Landmark
Historic District. A charming town of colorful
Victorian buildings ringed by mountain views,
Georgetown has long been a favorite of artists.
Includes Quick Draw in historic downtown. Exhibit
and sale through August 11. Registration and
exhibition at the Old School (formerly Heritage
Center), restored 1874 schoolhouse, 809 Taos
Street. Late registration accepted. Join us for this
painting event in the summer mountain air! Visit
website for application information.
Alla Prima Westcliffe
Dates: September 8-14, 2024 Opening
Reception: September 14, 2024
Entry Deadline: August 31, 2024 Sponsoring
Organization: Sangres Art Guild
Venue: 3rd Street Gallery City: Westcliffe
State: Colorado Format: Open
Juror(s) of Awards: Lorenzo Chavez
Award Total: $5,000+
Contact: Terri Wiebke Phone: 719.331.2164
E-mail: terrilynn1229@yahoo.com
Website: www.sangresartguild.org
Alla Prima Westcliffe’s 15th plein air event is held
as aspens begin their annual golden glory, nestled
between the Wet Mountains and the majestic
Sangre de Cristo Mountains of Colorado. Painting
opportunities abound, from our natural beauty
of mountain and alpine vistas, historic ranches,
trails, animals, flora, and small-town rural life. Alla
Prima Westcliffe is preceded by an optional twoday “tuneup” plein air workshop with nationally
renowned artist Lorenzo Chavez. Additionally, we
are proud to be a designated International Dark
Sky Community with pristine night skies. “Come
for the mountains, stay for the stars.”
Monuments and Canyons Plein Air Event
Dates: September 29-October 6, 2024
Opening Reception: October 4, 2024
Entry Deadline: April 1, 2024
Sponsoring Organization: Colorado National
Monument Association
City: Fruita State: Colorado
Contact: John Lintott Phone: 970.858.2808
E-mail: jlintott@coloradonma.org
Website: www.coloradonma.org
Paint the scenic red rock canyons of Colorado
National Monument and the surrounding highdesert beauty in Western Colorado. Colorado
National Monument Association presents the 8th
annual Monuments and Canyons Plein Air Event.
Proceeds from the exhibition provide support for
education, research, outreach, and park service
special projects in Colorado National Monument.
Many opportunities for artists besides the main
exhibition: optional river float painting trip, and an
extra exhibit in 2025.
27th Annual National Juried Exhibition and Sale
Sponsoring Organization: Plein Air Artists
Colorado Venue: TBD
Contact: Jennifer Riefenberg Phone:
303.250.2015 E-mail: info@pleinairartistscolorado.
com
Website: pleinairartistscolorado.com
Plein Air Artists of Colorado (PAAC) was created
for the love of plein air painting and for members
to enjoy the camaraderie of painting outdoors.
A founding principle is that PAAC creates
opportunities for artists of all levels to paint
outdoors together on a regular basis. Membership
is for artists from all over, currently representing
36 states and beyond the U.S. Our annual juried
exhibition offers examples of excellence in
painting that can be achieved outdoors, “en plein
air.” Come paint with us!
Steamboat Art Museum
Contact: Dottie Zabel Phone: 970.870.1755
E-mail: sam@steamboatartmuseum.org
Website: www.steamboatartmuseum.org
Paint Steamboat Springs and the Yampa Valley
fall splendor, offering landmark ranches, alpine
and river vistas, historic towns, and exclusive
painting sites. Three unique sales events: Kick-Off
Quick Draw at the popular Farmers Market, Sunset
Preview Reception, and Opening Reception
and Awards. Exhibit and sale in the Steamboat
Art Museum through November 2. Limited to
50 artists. Non-juried with professional and
open categories. Early registration and museum
membership discounts available. Registration
opens January 15, 2024.
www.steamboatartmuseum.org.
Estes Valley Plein Air
Contact: Mary Benke Phone: 970.227.7031
E-mail: marybenke27@gmail.com
Website: www.artcenterofestes.com
Florida
Lighthouse ArtCenter Annual Plein Air Festival
Dates: March 3-9, 2024 Venue: Lighthouse
ArtCenter
City: Tequesta State: Florida Format: Juried
Juror(s) of Awards: Michele Usibelli
Award Total: $15,000+
Contact: Laura Zele Phone: 561.746.3101
E-mail: laura@lighthousearts.org
Website: www.lighthousearts.org
Nestled in the charming seaside town of Tequesta,
Florida, Lighthouse ArtCenter welcomes over
20,000 visitors annually to its vibrant galleries
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and art school. On March 3, 2024, the 11th Annual
Plein Air Festival unites award-winning artists
nationwide to capture local scenes in the open air.
This weeklong festival includes artist demonstrations,
events, and a variety of fresh art available for
purchase.
Forgotten Coast en Plein Air
Dates: March 15-24, 2024 Opening Reception:
March 15, 2024
Sponsoring Organization: Forgotten Coast Cultural
Coalition
Venue: The Joe Center for the Arts City: Port St. Joe
State: Florida Format: Invitational
Contact: Leslie Wentzell Phone: 800.378.8419
E-mail: info@forgottencoastenpleinair.com Website:
www.forgottencoastenpleinair.com
Now in its 19th year of documenting authentic “Old
Florida,” Forgotten Coast en Plein Air is among the
world’s most prestigious plein air events. Artistic
excellence and production of investment-quality
art continues to be the trademark of this 10-day
festival, which features 17 of the most accomplished
international artists. Additionally, four “Florida’s
Finest en Plein Air” painters are honored Plein Air
Ambassadors, providing painting stations that are
available to the public. The Quick Draw competition
is open to all artists, professional and amateur.
Enjoy plein air exhibits, an expansive Wet Room,
demonstrations, receptions, and “Lunch and Learn”
artist talks.
Sixteenth Annual Winter Park Paint Out
Dates: April 21-27, 2024 Venue: Paint at the Museum
and locations nearby State: Florida
Contact: Kaley Craig Phone: 407.960.4718 E-mail:
marketing@polasek.org
The Albin Polasek Museum & Sculpture Gardens will
host the 16th annual Winter Park Paint Out from April
21 to 27, 2024. The gallery and sculpture gardens
will be free to the public during the weeklong event.
Professionally acclaimed plein air artists will paint
at the Museum and locations nearby. All are invited
to observe the artists at work, view completed
paintings in the gallery, and attend free painting
demonstrations. Artwork created during the Paint
Out will be available for purchase. The Winter Park
Paint Out will culminate with a Garden Party on April
27, 2024. Purchase tickets at winterparkpaintout.org.
8th Annual St. Augustine Plein Air Paint Out
Dates: April 24-28, 2024 Entry Deadline:
April 19, 2024
Sponsoring Organization: The St. Augustine Art
Association
Venue: 22 Marine Street City: St. Augustine State:
Florida Format: Open
Award Total: $3,000
Contact: Jennifer Flynt Phone: 904.824.2310
E-mail: info@staaa.org
Website: www.staaa.org/plein-air-paint-out
Artists! You’re invited to the 8th Annual St. Augustine
Plein Air Paint Out in the nation’s oldest city. This
event, a nod to St. Augustine’s art history, celebrates
the town’s architectural and coastal beauty through
the time-honored tradition of painting en plein air.
Artists will be painting in and around St. Augustine
at notable locations. Observers can visit the St.
Augustine Art Association’s gallery to view and buy
works-in-progress and finished paintings.
Shawn Dell Joyce
State: Florida
Contact: Shawn Joyce Phone: 845.728.4001
Website: www.shawndelljoyce.com
Have a plein air adventure! Discover beautiful,
environmentally important places in Pinellas, Florida,
and learn plein air painting from professional artist
Shawn Dell Joyce. Thirty-three classes happen on
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a different site each week, starting with a demo,
then individual help while you paint, ending with a
group critique. Make a completed plein air painting
each class and see the prettiest places in the
county. Excursions and nocturne class included in
each session, and exhibition opportunities. www.
shawndelljoyce.com
Venice Plein Air M.A.P. (Meet And Paint)
Sponsoring Organization: Venice Plein Air M.A.P.
(Meet And Paint)
Venue: Caspersen Beach, Centennial Park, Venice
Urban Forest City: Venice State: Florida
Format: Open
Contact: Karen Ann Hitt Phone: 941.586.0207
E-mail: venicepleinair@gmail.com
Website: www.venicepleinair.com
Mission: “Preserving Venice One Plein Air Painting
at a Time — since 2003. No Fees, Just Outdoor
Painting Camaraderie!” November-April 2023-2024,
MAP two times each month. 1st Monday, Caspersen
Beach (along boardwalk and shoreline); 3rd Saturday,
Historic Downtown Venice & Farmers Market
(meet at Gazebo). Plus our special annual MAP 3rd
Saturday of January, recording its growth each year
en plein air, on January 20, 2024: MAP Venice Urban
Forest. We meet 8:30ish-noonish; critique if wished
at 11:30ish. Follow our Facebook and Instagram
pages for updates.
Charles Cashwell
May 12-19, 2024
NEW BERN – BEAUFORT – ORIENTAL
The 4th Annual North Carolina Plein Air Art Festival in New Bern
showcases 35 nationally and globally acclaimed plein air artists,
including 20 newly juried painters, joining 15 award winners
and top performers from 2023’s Festival.
Exhibition & Sales Gallery open daily May 12-19 in New Bern, with
pop-up exhibitions and sales venues in Beaufort and Oriental.
NEW PAINTINGS DAILY • FREE DEMOS
WORKSHOPS • FORUMS • QUICK PAINT
YOUTH PLEIN AIR ADVENTURE
Selection Juror - SHANNA KUNZ
Award Juror - JAMES RICHARDS
$4,000 Best of Show, over $12,000 Cash Awards
CALL TO ARTISTS
Apply online today through midnight January 10, 2024
Durre Waseem
Martin Geiger
Jeff Markowsky
NCPLEINAIR.ORG
North Carolina Plein Air Art Festival is organized and directed by Plein Air New Bern a 501(c)3 nonprofit for visual arts.
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Key West Art Center & Gallery
Contact: Sean Dwyer Phone: 305.294.1241
E-mail: info@keywestartcenter.com
Website: www.keywestartcenter.com
Georgia
Olmsted Plein Air Invitational (Tenth Annual Atlanta)
Date: April 13-21, 2024 Opening Reception: April 16,
2024
Sponsoring Organization: Olmsted Arts, Inc.
Venue: Atlanta
City: Atlanta State: Georgia Format: Invitational
Award Total: $40K+
Contact: Phil Cuthbertson E-mail: phil@
olmstedpleinair.com Phone: 404.282.8283
Website: www.olmstedpleinair.com
Enjoy springtime in Atlanta with some of the most
esteemed contemporary Impressionist painters, with
over 400 original works in our Exhibition Gallery and
also in our Virtual Gallery. Artist Welcome April 16,
2024.
Idaho
Driggs Plein Air Festival
Dates: July 17-27, 2024 Opening Reception:
July 21, 2024 Entry Deadline: June 3, 2024
Sponsoring Organization: Downtown Driggs
Association Venue: Driggs City Center and Plaza,
60 South Main Street City: Driggs State: Idaho
Format: Open
Juror(s) of Awards: Suzie Baker and David Koch
Award Total: $4,000
Contact: Lisa Simmons Phone: 216.235.7532
E-mail: events@downtowndriggs.org
Website: www.downtowndriggs.org
PLEASE JOIN US for the 13th Annual Driggs Plein Air
Festival, held on the west side of the Teton mountain
range in beautiful Driggs, Idaho. Registration opens
in January for 75 artists. Registered artist check-in
from July 17-21. Artists and collectors enjoy many
activities, like the extended exhibition and sale, artist
workshops, opening reception with community
concert, quick draw competitions, workshops, paintouts, competition awards ceremony, and closing
reception. Visit www.downtowndriggs.org for details
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and to register.
Eagle Plein Air Festival
Dates: October 5-12, 2024 Sponsoring
Organization: Finer Frames
Venue: Finer Frames City: Eagle State: Idaho
Format: Open Award Total: $4,000
Contact: Meg Glasgow Phone: 208.888.9898
E-mail: info@eaglepleinair.com
Website: www.eaglepleinair.com
You’re Invited to SW Idaho for the 10th annual
Eagle Plein Air Festival. October 5-12, 2024. We
will be offering workshops, daily demonstrations,
paint-outs, quick draw, artist reception, and a
collectors’ party. With $4,000 worth of awards
given, our fast-growing festival is a great place
to enjoy the camaraderie of 80+ painters while
exploring Idaho’s diverse landscape: deserts,
mountains, rivers, and canyonlands, all within
a short drive from our central location in Eagle,
Idaho.
DOOR
COUNTY
PLEIN AIR
Hector Acuna
Shelby Keefe
Plein Air Coeur d’Alene at Art on the Green
Contact: Jessica Bryant Phone: 208.660.0075
E-mail: pleinaircda@gmail.com
Website: www.pleinaircda.com
Plein Air in the Parks
Contact: Daniel Hidalgo Phone: 208.932.0893
E-mail: info@pleinairintheparks.org
Website: www.pleinairintheparks.org
Olena Babak
Illinois
Paint the Town Barrington! Plein Air Event
Sponsoring Organization: Barrington Cultural
Commission
Venue: Barrington’s White House City: Barrington
State: Illinois Format: Open
Award Total: First Place: $500; Second Place:
$300; Third Place: $200
Contact: Clancy Potts Phone: 847.304.3406
E-mail: cpotts@barrington-il.gov
Website: www.barrington-il.gov/pleinair
Join artists from throughout Chicagoland as
they paint local landmarks around the Village
of Barrington. Interested artists can sign up
to receive information about the Fall 2024
competition at barrington-il.gov/pleinair.
Oil Painters of America
Contact: Cameryn Creech Phone: 815.356.5987
E-mail: mail@oilpaintersofamerica
Website: www.oilpaintersofamerica.com
Oil Painters of America is a nonprofit organization
dedicated to preserving and promoting
representational oil paintings. OPA has over 3,600
members ranging from students and advanced
artists to seasoned professionals throughout North
America. The $80 calendar-year membership fee
includes opportunities for juried exhibitions, both
national and regional; multiple online showcases;
yearly convention and wet paint competition;
paint-outs and workshops; virtual demonstrations,
educational programs, virtual road trips; and
scholarships. Contact us for 2024 membership
information.
Evanston Made Evanston Plein Air Festival
Contact: Liz Cramer Phone: 847.867.3766
E-mail: lizrcramer@gmail.com
Website: www.evanstonmade.org/evanston-pleinair-festival-2024
Village of Schaumburg Prairie Plein Air
Competition and Show
Contact: Roxane Benvenuti Phone: 847.923.3605
E-mail: rbenvenuti@schaumburg.com
Website: www.prairiecenter.org/programs/prairie-
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Bethann Moran-Handzlik
Marc Anderson
Brian Sindler
July 21–27, 2024
The Midwest's Premier
Outdoor Painting Event
35 INVITED PLEIN AIR MASTERS
DoorCountyPleinAir.com
Presented by
PENINSULA SCHOOL OF ART
Door County, WI | 920.868.3455
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Indiana to Maryland
plein-air
Indiana
Historic Courthouse on the Square in Waxahachie
Honored as the Best Courthouse in Texas.
17th Annual
Paint Historic Waxahachie
Historical Register
Largest in Texas
The Lore and Lure
of the Courthouse
PleinAir Artists’
Paradise
May 17 - 24, 2024
Waxahachie, TX
Artists… Events, Activities and Awards
Plein Air Registration… Elliscountyart.net
Featuring… Patrick Saunders workshop
May 21- 22 - 23
www.PatrickSaunders.com/waxahachie.html
Benefitting
Ellis County Museum
Elliscountymuseum.com
A Place In Your Heart
Mural
Ellis County Museum
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Culver & Lake Maxinkuckee Visitor Center
Dates: September 27-29, 2024 Award Total: $10,000
in awards and purchase prizes
Contact: Amber Cowell Phone: 574.216.0682
E-mail: findculverin@gmail.com
Website: www.findculver.com/culverpaintout
Enjoy a weekend of painting “en plein air” on the
shores of beautiful Lake Maxinkuckee in Culver,
Indiana, at the biannual Culver Paint Out. Often
referred to as the “Cape Cod of the Midwest,” Culver
is home to the world-famous Culver Academies
and within hours from Indianapolis, Chicago, and
Fort Wayne. Quick Paint on Saturday morning at
waterfront Culver Farmers’ Market with Quick Paint
awards to follow. On Sunday afternoon, awards
& Public Art Sale. Over $10,000 in awards and
purchase prizes featuring waterfront, downtown,
lake properties, and rural agricultural locations.
25th Annual First Brush of Spring
Venue: Hoosier Salon City: New Harmony
State: Indiana
Format: Open Juror(s) of Awards: Kelly Kane
Award Total: $15,000+
Contact: Sara Kamman Phone: 812.682.3970
E-mail: skamman@hoosiersalon.org
Website: www.inpainters.org
The 25th FBOS is a 3-day art event. The paint-out
kicks off with a reception at the Hoosier Salon on
Wednesday, April 18; Field to Finish exhibit and
awards. April 18-20; paint-out competition features
a quick draw, professional and non-professional,
and youth divisions totaling over $15,000 in awards.
Saturday, April 20; there’s an art sale. Visit www.
inpainters.org and www.hoosiersalon.org for more
information.
City of Carmel
Contact: Anne O’Brien Phone: 317.552.8745
E-mail: aobrien@carmel.in.gov
Website: www.carmeloncanvas.com
Carmel on Canvas Plein Air Paint Out provides artists
with two days of plein air painting in the Carmel
Arts & Design District, Carmel Midtown, the City
Hall Japanese Gardens, Carmel City Center, and
Carmel Central Park with its 161 acres of beautiful
green space! There are 4 divisions: Professional,
Non-Professional, Teen, and Child. There will be
more than $13,000 in total prizes including Purchase
Awards.
Iowa
Bluff Strokes 2024 Paint Out
Dates: September 29-October 5, 2024 Sponsoring
Organization: Bluff Strokes
Venue: Steeple Square City: Dubuque State: Iowa
Format: Juried Juror(s) of Awards: TBD Award Total:
$15,000
Contact: Wesley Heitzman Phone: 563.845.1801
E-mail: wheitzman@mchsi.com
Website: www.bluffstrokes.org
Paint historic Dubuque, Iowa, on the bluffs of
the Mississippi River. Dubuque boasts historic
residences, buildings, and parks; river vistas and
riverfront scenes; and interesting barge, rail, and
industrial infrastructure. Nestled in the Driftless
Region, which was not scoured by the glaciers,
it offers beautiful topography and many forest,
creek, and agricultural scenes. Our sales venue is
a beautiful repurposed German Catholic church.
Visit our website to see last year’s winners, and
explore our “Paint Dubuque” pages for painting
opportunities.
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Louisiana
Shadows-on-the-Teche Plein Air
Dates: March 9-16, 2024 Entry Deadline:
November 1, 2023
Sponsoring Organization: National Trust for Historic
Preservation
Venue: Shadows-on-the-Teche Visitor Center City:
New Iberia State: Louisiana
Format: Juried Award Total: $10,000
Contact: Jayd Buteaux (she/her) Phone:
337.369.6446 E-mail: jbuteaux@savingplaces.org
Website: www.shadowsontheteche.org
Shadows-on-the-Teche, a National Trust Historic
Site in New Iberia, Louisiana, will present our 10th
annual plein air competition in March 2024. The
selected jury panel will award cash prizes at closing
reception and auction. Enjoy a region enhanced by
architecture, moss-draped live oaks, and sugar fields
watered by the Bayou Teche. Home of the oldest
operating rice mill in America, exotic gardens, and
Avery Island, birthplace of Tabasco, excellent food,
original music, and hospitable residents.
Farm to Forest Plein Air Festival
Dates: October 10-13, 2024 Opening Reception:
October 10, 2024
Entry Deadline: August 28, 2024 Venue: Alexandria
Museum of Art City: Alexandria
State: Louisiana Format: Juried Award Total: $2,500
Contact: Olivia Helmer Phone: 786.239.7941
E-mail: olivia@themuseum.org
Website: www.themuseum.org
The Farm to Forest Plein Air Festival is a signature
event held by the Alexandria Museum of Art in
October each year. The festival will last four days,
starting Thursday, October 10, and concluding
Sunday, October 13, 2024, with artists coming from
all over the United States to paint and highlight
Central Louisiana! From the piney woods of Kisatchie
National Forest to historic downtown properties,
there’s something for every artist to be inspired by in
Central Louisiana.
Maryland
Paint Annapolis 2024
Dates: June 2-9, 2024 Entry Deadline: January 19,
2024
Sponsoring Organization: Maryland Federation of
Art Venue: Circle Gallery
Format: Combination Juror(s) of Awards: Suzie
Baker; Selection Juror: Christine Lashley
Award Total: $15,000
Contact: Laura Carty E-mail: laura@mdfedart.org
Website: www.mdfedart.org
For 23 years, Paint Annapolis has been the premier
painting event for this sailing town, bringing the
community together to share in the beauty of
painting outdoors. Paint Annapolis this year will take
place from June 2-9, kicking off with the Quick Draw.
Paint Annapolis has something for everyone — from
artist to art lover to collector. We are excited to see
you for a week of painting in our historic streets.
Paint It! Ellicott City 2024
Dates: June 6-9, 2024 Opening Reception:
June 10, 2024 Entry Deadline: April 15, 2024
Sponsoring Organization: Howard County Arts
Council
Venue: Howard County Center for the Arts
City: Ellicott City State: Maryland
Format: Combination Juror: TBA Award Total: TBA
Contact: Elli Hernandez Phone: 410.313.2787
E-mail: exhibits@hocoarts.org
Website: www.hocoarts.org
Come and join us for the 14th annual Paint It!
Ellicott City in historic Ellicott City, Maryland!
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Maryland to Massachusetts
During the four-day plein air paint-out, capture the
old mill town’s charm through its trove of paintable
treasures: historic landmarks, quirky architecture,
steep hillsides, and a beautiful river. Juried artists
are featured in our main gallery for a six-week exhibit
(entries due April 15, 2024). Artists of all skill levels are
invited to take part in the Open Paint portion. Visit our
website at hocoarts.org for prospectus and additional
information.
Plein Air Easton
Contact: Marie Nuthall Phone: 410.822.7297
E-mail: marie@avalonfoundation.org
Website: www.pleinaireaston.com
Plein Air Easton, organized by the Avalon Foundation,
Inc., is the largest and most prestigious juried plein
air painting competition in the nation. Held annually
for the past 19 years, PAE will celebrate its 20th
anniversary in 2024. The competition is open to
plein air artists the world over, who can apply online
beginning December 1. Each year, 58 artists are
selected to participate in the competition by a unique
juror. This year’s competition takes place from July
12-21. The Quick Draw event (open to all) will be held
on July 20. Judge for 2024: Nancy Tankersley.
Crystal Moll Gallery
Contact: Crystal Moll Phone: 443.759.4235
E-mail: crystal@crystalmoll.com
Website: www.crystalmoll.com
Adkins Arboretum - Plein Air Adkins
Contact: Jenny Houghton Phone: 410.634.2847
E-mail: jhoughton@adkinsarboretum.org
Website: www.adkinsarboretum.org
Plein Air Painters of the Chesapeake Bay
Contact: Diane Mullaly Phone: 410.253.2196
E-mail: dunepainter@earthlink.net
Website: www.facebook.com/dianedubois.mullaly
Massachusetts
Berkshire Plein Air
Dates: June 15-October 11, 2024 Opening Reception:
July 25, 2024
Entry Deadline: October 4, 2024 Sponsoring
Organization: Guild of Berkshire Artists
Venue: Berkshire County City: West Stockbridge
State: Massachusetts Format: Open
Contact: Karen Carmean Phone: 617.868.7082
E-mail: info@berkshireartists.org
Website: www.berkshireartists.org/pleinair
Create art outdoors with Berkshire Plein Air of
Western Massachusetts. Daily 10am-1pm except
Sundays, weather permitting, June-October. Meet at
a beautiful Berkshire location: Hancock Shaker Village,
The Mount, the Berkshire Botanical Garden. Work
until noon, then positive critique over lunch (bring or
buy). Oil, acrylic, photography, watercolors, pastel,
drawing, digital painting encouraged. Bring your own
supplies. Open to all levels. Come for a day, a week.
Join us for exhibits, quick draws, demonstrations,
workshops, competitions! BerkshireArtists.org/
pleinair. We also go to The Clark, Mount Greylock,
Oxbow on Housatonic, a horse farm, Tyringham
Cobble, Lake Cheshire, Bartholomew’s Cobble,
Stockbridge, Lenox, Great Barrington, Sheffield.
25th Annual National Juried Exhibition
Dates: September 27-October 26, 2024 Opening
Reception: September 26, 2024
Entry Deadline: June 10, 2024 Sponsoring
Organization: American Impressionist Society Venue:
Rockport Art Association and Museum City: Rockport
State: Massachusetts
Format: Juried Juror(s) of Awards: Carolyn Anderson
AISM Award Total: $80,000
Contact: Liz Ahrens Phone: 231.881.7685 E-mail:
aisdirector1@gmail.com
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16th
Annual
CALL FOR ENTRIES
Henry Coe, Old Ridge Road, Best in Show 2023
ONLINE ENTRIES
December 20, 2023–February 20, 2024
waynepleinair.org
Juror: Jill Carver,
Renowned Award-Winning Colorado-Based Painter and Teacher
3-Day Workshop with Jill Carver
May 13-15, 2024
Festival: May 5–10, 2024
Collectors’ Gala: Friday, May 10, 2024
Exhibition: May 11–June 22, 2024
Awards: $20,000+ in cash awards
More Information
waynepleinair.org
Wayne Art Center 413 Maplewood Ave. Wayne, PA 19087 610-688-3553
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October 10-13, 2024
In Alexandria, Louisiana
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800-610-5771
pleinairmagazine.com/pam
Kinda Like Diamonds
in the Sky, Kim
Lordier, 2020, pastel
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Congratulations Lynn Dunbar
2023 Winner
Glory to a Grey Day, 2023
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Website: www.americanimpressionistsociety.org
American Impressionist Society provides
opportunities to artists working in the style of
Impressionism. Annually AIS presents four juried
exhibitions, panel discussions, painting demos,
workshops, critiques, and painting competitions.
Exhibitions and events are open to the public.
Membership dues $60 annually. AIS partners
with galleries and arts organizations to present
our exhibitions. 2024 includes our celebratory
25th Annual National Exhibition at Rockport Art
Association and Museum, Rockport, Massachusetts,
and 8th Annual Small Works Showcase at Anderson
Fine Art Gallery, St. Simons Island, Georgia. Founded
in 1998, AIS has grown to one of the most respected
national arts organizations, with 2,200 members.
Cape Ann Plein Air 2024
Dates: October 5-13, 2024 Sponsoring Organization:
Cape Ann Plein Air, Inc.
City: Gloucester State: Massachusetts
Contact: Mike Storella Phone: 718.710.2475
E-mail: mike@capeannpleinair.com
Website: www.capeannpleinair.org
Known for its unique and penetrating beauty, artists
have long been drawn to America’s oldest seaport,
celebrating 400+ years of history in Gloucester. This
rich cultural tradition continues, painting alongside
the echoes of Winslow Homer, Edward Hopper,
Milton Avery, and Nell Blaine. Cape Ann Plein Air
is a prestigious event that attracts top-tier artists
from across the country to compete for awards and
showcase their work to collectors and enthusiasts.
Artists enjoy painting the scenic views of the Atlantic
Ocean; the charming towns of Gloucester, Rockport,
Essex, Manchester-by-the-Sea, and Ipswich; and the
rich artistic heritage of the region.
Michigan
Paint Grand Traverse
Dates: June 15-22, 2024 Opening Reception:
June 21, 2024
Entry Deadline: November 30, 2023 Sponsoring
Organization: Crooked Tree Arts Center Venue:
322 Sixth Street City: Traverse City State: Michigan
Format: Juried
Award Total: $15,000
Contact: Kristi Wodek Phone: 231.941.9488
E-mail: kristi@crookedtree.org
Website: www.paintgrandtraverse.com
Spend a week creating, collecting, and celebrating
in one of the most beautiful places in the country!
Situated on the shores of Lake Michigan and
surrounded by breathtaking dunes, lush wineries,
rolling farms, and charming villages, Paint Grand
Traverse draws a national field of artists. The week
includes workshops, live demos, and exhibitions, and
culminates with the Fresh Paint Party featuring the
work of 32 nationally recognized artists. Crooked
Tree Arts Center invites you to be a part of the 7th
annual Paint Grand Traverse!
Paint Dexter Plein Air Festival
Contact: Josh Tanghe Phone: 734.426.8303
E-mail: paintdexter@gmail.com
Website: www.paintdexter.com
Minnesota
Plein Air Grand Marais
Dates: September 6-14, 2024 Opening Reception:
September 13, 2024
Entry Deadline: Wednesday, May 1, 2024
Sponsoring Organization: Outdoor Painters of
Minnesota
Venue: Johnson Heritage Post Art Gallery
City: Grand Marais State: Minnesota
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May 5-11 2024
Artist Durre Waseem
“Best in Show” 2023
JUROR OF AWARDS
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Plein Air Southwest is juried membership paint out event presented by the Outdoor
Painters Society. The 2024 event is hosted by Galveston Historical Foundation,
Galveston, Texas. Juried artists will compete for $25,000+ in cash and merchandise.
Artists paint for 5 days and nights at selected locations within the city of Galveston.
Entrant must be at least 18 years of age and a member of Outdoor Painters Society.
Join or renew at www.outdoorpainterssociety.com
Applications are processed through www.onlinejuriedshows.com
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Minnesota to Montana
Format: Open, Juried, and Invitational
Juror(s) of Awards: Brock Larson
Award Total: $6,500
Contact: Allison Eklund Phone: 651.592.7858
E-mail: events@outdoorpaintersofminnesota.org
Website: www.outdoorpaintersofminnesota.org/
plein-air-grand-marais.html
For more than 20 years, painters from across the
country have gathered to paint in Cook County,
Minnesota, from Lake Superior to the Boundary
Waters Canoe Area Wilderness. Daily workshops,
paint-outs, artist socials, and a hootenanny make this
a beloved tradition. All painters are welcome: The
Open Class is oriented toward learning artists, and
the Competition Class is juried. An Invitational Class
features workshop instructors and painters from the
Arrowhead region of Minnesota. Join us in 2024!
Outdoor Painters of Minnesota
Dates: September 6-14, 2024 Opening Reception:
September 13, 2024
Entry Deadline: May 1, 2024 Sponsoring
Organization: Outdoor Painters of Minnesota Venue:
Johnson Heritage Post Art Gallery City: Grand Marais
State: Minnesota
Format: Open, Juried, and Invitational Juror(s) of
Awards: Brock Larson Award Total: $6,500
Contact: Allison Eklund Phone: 651.592.7858 E-mail:
events@outdoorpaintersofminnesota.org
Website: www.outdoorpaintersofminnesota.org/
plein-air-grand-marais.html
OPM is a thriving nonprofit plein air painting
organization with 200 members ranging from
beginners to advanced amateur and professional
painters. Your $40 calendar-year membership fee
includes opportunities to participate in juried and
open exhibits coordinated with community partners
and other arts organizations, plus monthly paint-outs,
quarterly workshops and plein air demonstrations,
educational presentations, and “shop talk” artist
socials twice every month on Zoom. Enjoy affordable
painting retreats and expeditions and volunteer
opportunities to plan and organize new plein air
activities and painting trips. Join now to participate in
the exciting events we have planned in 2024!
Missouri
Augusta Chamber of Commerce
Contact: Lynn Buchheit Phone: 314.239.3988
E-mail: augustapleinair@gmail.com
Website: www.augustapleinair.com
Enjoy spring in Missouri wine country! Augusta is
waiting for you to paint vineyards, wineries, farms,
bluffs, and the Missouri River. This 10-day event has
16 paint-outs, three theme paints, workshops, and
a final sale and festival! The final judging awards
Best of Show, Artists’ Choice, People’s Choice, plus
First, Second, Third, and Honorable Mention in four
categories. An art gallery is open daily to display and
sell your artwork created during the festival. Open to
all levels.
Montana
Paint Under the Big Sky
Dates: June 1-July 31, 2024 Opening Reception: June
29, 2024 Entry Deadline: June 1, 2024
Sponsoring Organization: Big Sky Artists Venue: Big
Sky Artists Studio & Gallery
City: Big Sky State: Montana Format: Open Juror(s)
of Awards: TBA Award Total: TBA
Contact: Annie McCoy Phone: 410.463.0645
E-mail: bigskyartistscollective@gmail.com
Website: www.bigskyartistscollective.com/
event/184958/paint-under-the-big-sky-plein-air-event
Join us for painting in Big Sky, Montana, the “Last
Best Place” for the most spectacular scenery in
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Enjoy a weekend of
painting en plein air on
the shores of beautiful
Lake Maxinkuckee in
Culver, Indiana at the biannual Culver Paint Out.
2024 Best of Show by Damien Gonzales
Colorado (PAAC) was created for
the love of plein air painting and for
members to enjoy the camaraderie
of painting outdoors. A founding
principal is that PAAC creates
opportunities for artists of all levels
to paint outdoors together on a
regular basis. Membership is for
artists from all over, currently
representing 36 states and beyond
the US. Our annual juried exhibition
offers examples of excellence in
painting that can be achieved
outdoors, “en plein air.”
Come Paint with us!
Enjoy a weekend of painting en
plein air on the shores of beautiful
Lake Maxinkuckee in Culver,
Indiana at the bi-annual Culver
Paint Out. Often referred to as the
“the Cape Cod of the Midwest”,
Culver is home to the world famous
Culver Academies and within
hours from Indianapolis, Chicago
and Fort Wayne. Quick Paint on
Saturday morning at waterfront
Culver Farmers’ Market with Quick
Paint awards to follow. On Sunday
afternoon, Awards and Public Art
Sale. Over $10,000 in Awards and
Purchase Prizes featuring waterfront,
downtown, lake properties, and
rural agricultural locations.
www.findculver.com
findculverin@gmail.com
2023 Best of Show by Buffalo Kaplinski
www.pleinairartistscolorado.com
OlmstedPleinAir.com
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COME PAINT IN
AMERICA’S FIRST
CAPITAL CITY!
HISTORIC ARCHITECTURE
NAVAL ACADEMY
WATERFRONT
Pain
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DEADLINE:
JAN 16th
For event details and registration:
PAINTANNAPOLIS.ORG
HOSTED BY
TO
JUNE 2
9
MARYLAND
FEDERATION OF ART
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Montana to New Jersey
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Plein Air Montana 2024
Dates: July 28-August 3, 2024 Opening
Reception: August 3, 2024
Entry Deadline: March 18, 2024 Sponsoring
Organization: Bozeman Art Museum
Venue: Bozeman Art Museum City: Bozeman
State: Montana
Format: Invitational & limited Open, Juried
Juror(s) of Awards: TBA Award Total: TBA
Contact: Linda Williams Phone: 406.570.1419
E-mail: linda@bozemanartmuseum.org
Website: bozemanartmuseum.org
The Bozeman Art Museum presents Plein Air
Montana 2024, with a hybrid of returning and
juried artists painting from July 28 through August
3 in beautiful Southwest Montana. With locations
from downtown to the mountains just outside of
Bozeman, artists have the opportunity to create
some remarkable work, which will be eligible
for awards and sales. The artwork will remain on
display and available for purchase throughout the
month of August. Opening night will be August 3
after a morning Quick Draw paint-out. Enjoy social
gatherings, buyers’ events, and workshops. Artist
applications are available at bozemanartmuseum.
org.
June 8 - 15, 2024
Plein Air Glacier
Dates: August 26-31, 2024 Opening Reception:
August 31, 2024
Entry Deadline: March 31, 2024 Sponsoring
Organization: Hockaday Museum of Art
Venue: Hockaday Museum of Art City: Kalispell
State: Montana Format: Juried
Juror(s) of Awards: TBD Award Total: $250 x 2
Contact: Alyssa Cordova Phone: 406.755.5268
E-mail: information@hockadaymuseum.com
Website: www.hockadaymuseum.com
Plein Air Glacier 2024. Paint in beautiful Northwest
Montana and Glacier National Park! Join us for
the 17th year of this fun juried painting event,
exhibition, and sale. Apps due: March 31, 2024.
Jury notification: May 1. Paint-out, hikes, party,
and sale: August 26-31. Party and sale: Saturday,
August 31, 4-7 pm. Exhibition and online sale:
September 3-October 5.
A PA I N T C E D A R B U R G E V E N T
the country! Mountains, streams, wildlife, and
wildflowers galore! Paint anytime from June 1-28.
Work exhibited for sale from June 29-July 31.
JOIN US IN BIG SKY, MONTANA
“The Last Best Place”
Mountains, streams, wildlife
Spectacular Rocky Mountain scenery
Paint Under
the Big Sky
June 1 – July 31, 2024
Paint anytime: June 1 – 28, 2024
Opening: June 29, 2024
Exhibition and Sales:
June 29 – July 31, 2024
bigskyartistscollective@gmail.com
cedarburgartistguild.com
Nebraska
Paint the Nebraska Sandhills
Dates: May 11-18, 2024 Sponsoring Organization:
Mullen Arts Center, Dismal River Club Venue:
Dismal River Club City: Mullen State: Nebraska
Contact: Stephanie Carter-Nielsen Phone:
801.389.6238 E-mail: stephaniecn3@gmail.com
Website: www.facebook.com/mullenartscenter
Plein air exhibit and workshop. Attend plein air
painting workshop taught by Debra Joy Groesser.
$375 including lunch. Lodging available at Dismal
River Club. Limited to 15 students, so apply early!
Enter plein air artwork into exhibit judged by
Debra Joy Groesser. Applications can be found on
the Mullen Arts Center Facebook page.
New Jersey
ArtVenture Flemington
Contact: Helen Meyers Phone: 908.310.0097
E-mail: info@artventurenj.com
Website: www.artventurenj.com
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SEE HOW IT’S DONE
5TH ANNUAL
MARCH 6-8, 2024
Discover the secrets of the world’s top landscape masters
and go from good to great in just three immersive days
LEARN FROM THESE ARTISTS AND MANY MORE TO COME
Sky Forms by
Kimball Geisler
DON’T WAIT! Sign up now at PleinAirLive.com/pam
New York
New York
Adirondack Plein Air Festival
Dates: August 12-17, 2024 Opening Reception:
August 16, 2024
Entry Deadline: April 15, 2024 Sponsoring
Organization: Saranac Lake ArtWorks
Venue: Town Hall City: Saranac Lake State: New
York Format: Juried
Juror(s) of Awards: Valerie Craig Award Total:
$6,000+
Contact: Sandra Hildreth Phone: 518.832.0081
E-mail: info@saranaclakeartworks.org
Website: www.saranaclakeartworks.org
Come paint the landscapes that inspired the
Hudson River School painters — the Adirondack
Mountains of northern New York! August 12-17,
2024 will be the 16th Adirondack Plein Air Festival.
Forty artists; 5 1/2 days of painting; a Special
Preview Party on August 16 and a Show & Sale on
August 17. Awards juror is nationally known artist
Valerie Craig, who will also do a workshop August
10-11. Info online by February 1, 2024.
Roger Tory Peterson Institute Plein Air Festival
Dates: September 11-14, 2024 Sponsoring
Organization: RTPI
Venue: Multiple locations throughout the area
Format: Juried
Contact: Maria Ferguson Phone: 716.665.2473
E-mail: info@rtpi.org Website: rtpi.org/pleinair
The Roger Tory Peterson Institute Plein Air Festival
is a two-day, open enrollment, plein air event in
Chautauqua County, NY. Discover the beautiful
scenery that inspired a young Roger Tory Peterson.
Artists may display their work at a wet paint sale
September 14. Artwork will be entered into a
judged competition, with awards given during
the closing reception September 14. Artwork
submitted to the show will also be considered for
an exhibition at RTPI.
Hudson Valley Plein Air Festival
Dates: October 14-19, 2024 Opening Reception:
October 19, 2024
Entry Deadline: July 15, 2024 Sponsoring
Organization: Wallkill River Center for the Arts
Venue: 232 Ward St. City: Montgomery
State: New York Format: Juried
Juror(s) of Awards: TBA Award Total: $4,000
Contact: Sarah Pierson Phone: 845.457.2787
E-mail: hvpleinair@gmail.com
Revel in the peak of the Northeast fall color in
this historic region and the home of the famous
Hudson River School artists. The landscape
features charming villages, historic sites, lakes,
rivers, marshes, mountainous vistas, and rolling
agricultural lands. The week kicks off with a Quick
Draw competition on the holiday Monday. Artists
may paint anywhere on the map, or join optional
group paint locations. Social nights, demos, and
other activities are scheduled throughout the
week for both painters and the general public. Join
us for our 9th year!
Paint Adirondacks Presented by PleinAir
Magazine
Dates: June 8-15, 2024
Sponsoring Organization: PleinAir Magazine
Venue: Paul Smith’s College
City: Paul Smiths, NY
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: paintadirondacks.com
PleinAir Magazine’s Eric Rhoads started the
Publisher’s Invitational so his friends could join
him in the Adirondacks to paint. An invitation is no
longer required. This event is a chance for busy
painters who need a break — a chance to slow
down, reconnect with friends, and paint beautiful
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New York to Pennsylvania
Juried Competition
10th Annual March 9-16
ir.D
Plein-&A
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.. #0. //
Best of Show 2023 Morning Search by Kari Ganoung Ruiz
Shadows-On-The-Teche
New Iberia, LA
337.369.6446 • www.shadowsontheteche.org
Meet at beautiful Berkshire Mass.
locations such as The Mount,
Hancock Shaker Village, and
Berkshire Botanical Garden.
June-Oct., 10am-1pm.
Come for a day, a week, or more!
Watch, work, critique and lunch.
BerkshireArtists.org/pleinair
Guild of
Berkshire Artists
Some of the 2023 competition winners
21th Annual
Plein Air Competition
Sept. 20-22, 2024
New Towne Gallery, Millersburg, OH
Artists paint anywhere in Holmes Co., OH. Home to the 2nd largest
Amish population in the USA, landscapes feature rolling hills and
valleys. Killbuck and Doughty Valleys offer marshes, wetlands, and
forests. Millersburg offers historic architecture; Port Washington
Road is Ohio’s first state road. ‘Rails to Trails’ offers views of
wetlands with local flora and fauna. Discover local legends at
Panther’s Hollow and Salem Cemetery’s ‘Headless Angel’. Enjoy
having private access to several Amish Farms.
OVER $5,000 IN TOTAL PRIZES
Open to all artists!
places where the masters before us have painted.
We make it effortless. You roll out of your dorm
bed for breakfast, pack your sack lunch for your
day of painting, and show up for dinner. Our days
are filled with painting the Adirondack Mountains
of northern New York State and the surrounding
area.
Please make sure to use this URL when linking
in the digital edition: https://paintadirondacks.
com/?utm_source=CTP_WTA_20231101_2024ultimate-guide-text-ad-adk24_ADK_8757
Genesee Valley Plein Air Painters, Inc.
Contact: Barbara Jablonski Phone: 585.381.3980
E-mail: paint@gvpap.com
Website: www.gvpap.com
International Plein Air Painters
Contact: International Plein Air Painters Phone:
905.354.8692 E-mail: info@i-p-a-p.com
Website: www.i-p-a-p.com
PALS Plein Air Limner Society
Contact: Jeanne Salucci Phone: 631.241.3749
E-mail: www.palspleinair.com
Website: www.palspleinair.com
North Carolina
North Carolina Plein Air Art Festival - New Bern
Dates: May 12-19, 2024 Entry Deadline: January
10, 2024
Sponsoring Organization: North Carolina Plein Air
Art Festival in New Bern
Venue: New Bern Farmers’ Market - 421 S Front
Street City: New Bern Format: Combination
Contact: Kippy Hammond Phone: 252.558.1689
E-Mail: info.ncpleinair@gmail.com
Website: www.ncpleinair.org
Submission Juror: Shanna Kunz Awards Judge:
James Richards
Now in its 4th year, North Carolina Plein Air
Art Festival in New Bern hosts 35 nationally
acclaimed plein air artists in Eastern Carolina, rich
in maritime and historic sites. Exhibition/Sales
Gallery with fresh paintings daily in New Bern, plus
paint-outs and pop-up exhibits in Oriental and
Beaufort, NC, make a spectacular week of demos,
workshops, forums, mentoring sessions, and
youth activities. $12,000 in cash prizes, $4,000
Best of Show. Workshops by Shanna Kunz and
James Richards. Following our Quick Paint May 19,
join our caravan to Cherokee, NC, for PACE, May
20-24. Call to Artists for submissions, deadline
January 10.
Cashiers Plein Air Festival
Dates: July 15-20, 2024 Opening Reception:
July 17, 2024
Sponsoring Organization: The Village Green of
Cashiers, NC Venue: The Village Green
City: Cashiers State: North Carolina Format:
Invitational Juror(s) of Awards: TBD
Award Total: TBD
Contact: Ashlie Mitchell Phone: 404.980.9361
E-mail: director@cashiersgreen.com
Website: www.cashierspleinairfestival.com
Eighteen invitational plein air artists paint en plein
air to capture the landscape and beauty of the
Cashiers area in the Blue Ridge Mountains. Artist
originals hang in a special pop-up gallery held
in The Village Green’s Lewis Hall from July 15-20.
Proceeds from the sale of these unique paintings
benefits The Village Green, Cashiers’ 20-acre
nonprofit park for community enjoyment.
www.ohiopleinairsociety.com
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2024 Blowing Rock Plein Air Festival
Dates: August 20-24, 2024 Sponsoring
Organization: Blowing Rock Art & History Museum
City: Blowing Rock State: North Carolina Format:
Open
Contact: Jennifer Garonzik Phone: 828.295.9099
E-mail: jennifer@blowingrockmuseum.org
Website: www.blowingrockpleinair.org
The Blowing Rock Plein Air Festival is a fourday, open enrollment plein air painting event. It
takes place in the beautiful mountainous area
surrounding the town of Blowing Rock in western
North Carolina, from Tuesday, August 20, to
Saturday, August 24, 2024. The festival aims to
bring painters together from around the world
to paint outside in the fresh air while getting to
know each other and sharing their work. The
event prompts applicants to explore the unique
Blowing Rock architecture, spectacular Blue Ridge
Mountain views, and overall Appalachian feel of
one of the most scenic areas in the country.
Orange County Arts Commission
Contact: Katie Murray Phone: 919.245.2335
Website: www.artsorange.org
Paint it Orange Plein Air Paint-Out. October 2-4,
2024. Chapel Hill-Carrboro-Hillsborough,
North Carolina, artsorange.org/paintitorange.
Ohio
21st Annual Plein Air Competition
Dates: September 20-22, 2024 Opening
Reception: September 22, 2024
Entry Deadline: September 16, 2024 Sponsoring
Organization: Ohio Plein Air Society
Venue: New Towne Gallery City: Millersburg State:
Ohio Format: Open Award Total: $5,000
Contact: Debra Joyce Dawson Phone: 740.739.1791
E-mail: info@ohiopleinairsociety.com
Website: www.ohiopleinairsociety.com
Artists paint anywhere in Holmes County, OH.
Home to the 2nd-largest Amish population in the
U.S.A., landscapes feature rolling hills and valleys.
Killbuck and Doughty Valleys offer marshes,
wetlands, and forests. Millersburg offers historic
architecture; Port Washington Road is Ohio’s
first state road. “Rails to Trails” offers views of
wetlands with local flora and fauna. Discover local
legends at Panther’s Hollow and Salem Cemetery’s
“Headless Angel.” Enjoy having private access to
several Amish farms.
Central Ohio Plein Air
Contact: Rod Hayslip Phone: 614.793.0860
E-mail: rodhayslip@gmail.com
Website: www.centralohiopleinair.com
Pennsylvania
Wayne Art Center 2024 Plein Air Festival - 16th
Annual
Dates: May 5-10, 2024 Sponsoring Organization:
Wayne Art Center Venue: Wayne Art Center
City: Wayne State: Pennsylvania Format: Juried
Juror(s) of Awards: Jill Carver
Award Total: $20,000+
Contact: Pam McLean-Parker Phone:
610.688.3553 E-mail: pam@wayneart.org
Website: www.waynepleinair.org
Jill Carver (Colorado), nationally acclaimed artist,
will select 32 plein air artists to participate in
Wayne Art Center’s 2024 Plein Air Festival and
present $20,000+ in cash awards at the Collectors’
Preview & Sale May 10. Approximately 300
paintings will be on display at WAC through June
22. Carver will present a 3-day workshop May 13-15.
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OCTOBER 2-4
2024
ORANGE COUNTY, NC
CHAPEL HILL
CARRBORO
HILLSBOROUGH
ARTSORANGE.ORG/PAINTITORANGE
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Pennsylvania to Tennessee
Plein Air West Reading 2024
Dates: June 8-15, 2024 Entry Deadline:
March 1, 2024 Juror(s) of Awards: Mick
McAndrews Award Total: $6,000+
City: Berks County
State: Pennsylvania
Contact: Russell Slocum Phone: 610.796.0418
E-mail: slocumadv@gmail.com
Website: www.artplusgallerypa.com
New for the 9th annual competition: larger display
panels, each with LED lighting; up to 6 days to
paint anywhere in Berks County, PA; and at least
12 awards totaling $6000+. Juror Mick McAndrews
will select 30 artists from entries received by
March 1, 2024. Patrons Preview and awards Friday
evening. On Saturday, it will be the keystone
exhibit at the Art on the Avenue festival. Option for
2-week extended exhibit at Art Plus Gallery. Host
housing or discount lodging for visiting artists.
Registration $40, prospectus and entry form
available January 1, 2024 at www.artplusgallerypa.
com.
River Towns Plein Air
Contact: Marita Hines Phone: 717.314.9551
E-mail: info@mariettaartalive.com
Website: www.mariettaartalive.com
South Dakota
De Smet South Dakota Harvey Dunn Plein Air
Dates: August 8-11, 2024
Sponsoring Organization: Harvey Dunn Society
Venue: Ingalls Homestead & De Smet Event
Center City: De Smet State: South Dakota Format:
Open Award Total: $500 & prizes
Contact: Janae Bell Phone: 320.894.7540
E-mail: sjbell83@gmail.com
Website: www.facebook.com/harveydunnsociety
Paint the prairies of South Dakota and the “Little
Town on the Prairie” where Harvey Dunn painted
and Laura Ingalls Wilder homesteaded. 15th
Annual ... is the longest-running plein air in South
Dakota. Everything free, including registration,
workshops, children’s workshop, receptions,
and “wet sale.” Beginners & pros welcome. Many
residents attend to buy artwork Sunday. Artists
attend from many states and say, “This is the most
fun, well-organized, and friendliest paint-out I’ve
attended. You will love it!”
7th Annual Black Hills Plein Air Paint Out
Dates: September 19-21, 2024 Opening
Reception: September 20, 2024
Entry Deadline: August 1, 2024 Sponsoring
Organization: Hill City Arts Council
Venue: TBD City: Hill City State: South Dakota
Format: Juried Juror(s) of Awards: TBD Award
Total: $2,000
Contact: Deb Ollerich Phone: 605.574.2810
E-mail: info@hillcityarts.org
Website: www.hillcityarts.org/plein-air
Artists will gather in Hill City, South Dakota, to
paint the beautiful Black Hills area, choosing from
a variety of picturesque locations while visitors
have the chance to watch “art in the making.” The
area offers rolling green hills, thick green forests,
prairies, lakes, creeks, and wildlife. Visitors will
have the opportunity to purchase artwork created
at the event. Join us for this unique experience
that will have you coming back to the Hills year
after year!
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Tennessee
Artists on Location
Dates: April 15-20, 2024 Opening Reception:
April 20, 2024
Sponsoring Organization: Knoxville Museum of
Art Venue: Knoxville Museum of Art
City: Knoxville State: Tennessee Format: Juried
Juror(s) of Awards: Anne Blair Brown
Award Total: $2,000
Contact: Julia Connor Phone: 865.254.8257
E-mail: julia.b.connor@gmail.com
Website: www.knoxart.org
Artists on Location returns to the Knoxville
Museum of Art the third week of April 2024. Art
collectors and new buyers show strong support
for this popular event. Artists have an opportunity
to paint outdoors over several days at sites in
and around scenic Knoxville, TN. Well-known
landmarks will be perfect for interactions with the
public, from the Smokies to downtown Market
Square. On Saturday, April 20, artists’ works will be
judged for awards and paintings will be available
for sale during the Art Show and Sale from 5 until
9 pm at the Knoxville Museum of Art.
Plein Air Smokies
Date: September 2-28, 2024 Opening Reception:
September 27, 2024
Sponsoring Organization: Friends of the Smokies
Venue: Clayton Center for the Arts
City: Maryville State: Tennessee Format: Juried
Juror(s) of Awards: Mark Boedges
Award Total: $20,000
Contact: Lauren Gass Phone: 865.257.4776
E-mail: lauren@friendsofthesmokies.org
Website: www.pleinairsmokies.org
Twenty Featured Artists will be juried to participate
in the weeklong event where they will paint
within the Great Smoky Mountains National Park.
Hosted by Friends of the Smokies, the official
philanthropic partner of the park, artists will stay
all in one location together (each with their own
private room) within one mile of the park entrance
in East Tennessee. Four alternates will also be
juried as possible backups.
11th Annual Plein Air Convention & Expo
Dates: May 20-24, 2024
Sponsoring Organization: PleinAir Magazine
Location: Smoky Mountains
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: pleinairconvention.com
The Plein Air Convention & Expo is the world’s
largest gathering of outdoor artists. With a
faculty of over 80 instructors, the event is
designed to inspire painters and fine-tune their
skills. The convention features indoor painting
demonstrations, with big-screen views, in water
media, pastel, and oil painting. Daily painting as a
group features instructors who offer suggestions
as you paint. The giant Expo Hall features art
supplies and frames at deep, convention-only
discounts. There is also an art show of faculty and
attendee artworks that is open to the public. In
2024 we will have pre-convention workshops in oil
with Joe Paquet, watercolor with Amit Kapoor, and
pastel, artist TBA (pre-registration required).
Johnson County Center for the Arts Cultural
Heritage Plein Air Event
Contact: Temple Reece Phone: 423.460.3313
E-mail: johnsoncountycenterforthearts@outlook.
com Website: www.jocoartcenter.org
“Monument Overlook” by Betsy Menand
2024 Monuments and
Canyons Plein Air Event
Sept. 29 - Oct. 6
Call for submissions: January 1st, 2024
Deadline to submit: April 1st, 2024
www.coloradonma.org
VISIT THE 11TH ANNUAL
Paint the
Sandhills of
Nebraska
PLEIN AIR
SHOW & SALE
Saturday, August 10, 2024
Mineral Point, Wisconsin
ARTSMP.ORG
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May 11-18, 2024
Attend plein air painting workshop taught
by Debra Joy Groesser. $375 including
lunch. Lodging available at Dismal River
Club. Limited to 15 students so apply early!
Enter plein air artwork
into exhibit judged by
Debra Joy Groesser.
Sponsored by Mullen
Arts Center.
For registration and additional information:
www.facebook.com/mullenartscenter
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Texas to Wisconsin
Texas
Plein Air Southwest 2024
Dates: May 5-11, 2024 Opening Reception: May
10 - VIP invitational
Entry Deadline: January 2, 2024 Sponsoring
Organization: Outdoor Painters Society
Venue Location: 1880 Garten Verein, 27th & O
Avenue City: Galveston State: Texas
Contact: Tina Bohlman Phone: 972.741.6154
E-mail: tina@tinabohlman.com
Website: www.outdoorpainterssociety.com
Annually, to showcase the incredible talent
within our 300-plus-member association, we
produce Plein Air Southwest, a juried painting
competition event that attracts national attention
and elite artists and is promoted and featured
in major art magazines. With a $5,000 Best in
Show, the awards total over $25,000 in cash
and merchandise, and the event has earned the
reputation among collectors and artists as one of
the premier competition events in the Southwest.
Artists are members of the Outdoor Painters
Society and considered some of the best plein air
painters working today.
Paint the Town
Dates: April 21-27, 2024 Opening Reception:
April 21, 2024
Sponsoring Organization: Highland Lakes
Creative Arts Venue: Lakeside Pavilion
City: Marble Falls State: Texas Format: Juried
Juror(s) of Awards: Charlie Hunter
Award Total: $12,000
Contact: Erin Hinzmann Phone: 512.970.8087
E-mail: paintmarble@gmail.com
Website: www.hlcarts.com/paint-the-town-festival
Experience a week of celebrating the arts in
Texas! Renowned artist Charlie Hunter returns as
the juried judge for Paint the Town 2024 in the
beautiful lakeside community of Marble Falls, 40
miles from Austin, TX. Thirty plein air artists from
around the region will compete to capture the
outdoor beauty of the Texas Hill Country. With
a pop-up sales gallery, a live demonstration by
Charlie Hunter, and parties throughout the week,
there is so much to do to get fully immersed in
Marble Falls’ Paint the Town!
En Plein Air Frisco 2024
Dates: April 24-27, 2024 Opening Reception:
April 27, 2024
Entry Deadline: March 25, 2024 Sponsoring
Organization: Visual Arts Guild of Frisco Venue:
The Grove at the Commons City: Frisco State:
Texas Format: Open and Juried Juror(s) of Awards:
TBA Award Total: $2,000
Contact: Jennifer Luney Phone: 214.770.6154
E-mail: finance@vagf.org Website: www.vagf.org
In collaboration with Play Frisco – City of Frisco
Parks and Recreation Department, Visual Arts
Guild of Frisco presents En Plein Air Frisco 2024.
The Grove at the Commons, 8300 McKinney Rd.,
Frisco, TX, April 25-27, 2024. Juried onsite for cash
prizes. Reception April 27, 5:30-7:30 pm. Paint/
draw 3 days in the parks of Frisco w/optional wet
paint/quick draw competition. Submission open
to the public, $55; VAGF members $10 discount
(e-mail info@vagf.org for the member code).
Ellis County Art Association
Contact: DaveMcSpadden Phone: 214.732.2456
Email: mcspaddendave@gmail.com
Website: www.elliscountyart.net/phw
The 17th Annual Paint Historic Waxahachie Event
is the place to be in Texas for 2024 from 5/17-5/24.
A Patrick Saunders Workshop on 5/21, 22, and
23 will highlight the event. After a reception on
the evening of 5/17, there will be multiple events,
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happy hours, tours, and an awards party to
wrap up the week. Come see and paint in
the five National Historic Districts and the
most painted and photographed courthouse
building in Texas. See our ad, check out our
website for registration, and register for the
Patrick Saunders Workshop separately. Y’all
come!
Brushes by the Beach
Dates: October 3-20, 2024
Opening Reception: October 26, 2024
Entry Deadline: October 19, 2024 Sponsoring
Organization: G. Lee Gallery
Venue: G. Lee Gallery City: Galveston State:
Texas Format: Open Juror(s) of Awards: TBD
Award Total: TBD
Contact: Brenda Donaloio Lee Phone:
409.370.7350 E-mail: brendadonaloio@
sbcglobal.net Website: www.gleegallery.net
Wrap up your plein air year with warmer
weather on Galveston Island. Can’t travel to
the Island? No worries, this open plein air
event accepts online plein air submissions
created anywhere within the U.S. But if
you can come to the Island, your plein air
challenges will reach from beach to bay,
historic neighborhoods, iconic landmarks, and
a working port. We enjoy welcoming back,
year after year, beginners to pros. Cash prizes
and ribbons awarded.
Two Rivers Plein Air
Dates: October 14-19, 2024 Opening
Reception: October 14, 2024
Entry Deadline: August 1, 2024
Sponsoring Organization: New Braunfels
Art League Venue: New Braunfels Art League
Gallery City: New Braunfels State: Texas
Format: Open Juror(s) of Awards: TBA
Award Total: $3,000
Contact: Mary Hammond Phone:
210.845.2380
E-mail: tworiverspleinair@gmail.com Website:
www.thenewbraunfelsartleague.com
Come experience the charm of historical New
Braunfels, Texas! The $75 entry fee covers
the plein air event and the Quick Draw with
the Meet & Mingle. The first 35 artists will
be accepted, with 10 alternates. Quick Draw
(October 14) is open to outside artists as a
one-day activity for a $30 entry fee. Art will
be on display and for sale during the week of
the event. See NBAL website for registration
information.
EnPleinAirTEXAS
Dates: October 20-26, 2024 Entry Deadline:
May 15, 2024 City: San Angelo State: Texas
Format: Juried
Contact: Barbara Rallo Phone: 325.656.2500
E-mail: paint@enpleinairtexas.com
Website: www.enpleinairtexas.com
In the 1920s artists gathered on the clear
spring waters of the Concho River, never
dreaming today we’d be doing the same!
EnPleinAirTEXAS celebrates 10 years of
capturing the authentic West. Come paint
on iconic private ranches and the eclectic
downtown of San Angelo along that same
Concho River. The nationally acclaimed San
Angelo Museum of Fine Arts welcomes you
with West Texas hospitality, with host homes
and innovative events! Come experience the
prestigious EnPleinAirTEXAS!
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Utah
Escalante Canyons Art Festival
Dates: September 20-29, 2024 Sponsoring
Organization: Envision Escalante
City: Escalante State: Utah Format: Open
Award Total: $11,000
Contact: Ruthanne Oliver E-mail: info@
escalantecanyonsartfestival.org
Website: www.escalantecanyonsartfestival.org
Southern Utah’s canyon country with fall colors
and stunning light! Join us to paint and celebrate
the spectacular Escalante Canyons and
surrounding areas. Hosted in Escalante, Utah —
along Scenic Byway 12 between Bryce Canyon
and Capitol Reef National Parks, in the heart of
Grand Staircase-Escalante National Monument.
Plein air, nocturne, and quick draw competitions,
exhibits, in-person art sales, workshops and
hands-on-art programs, demonstrations, arts
and crafts fair, live music, and roving talks.
Virginia
The Arts of Great Falls
Date: May 18-25, 2024 Entry Deadline:
March 18, 2024
Sponsoring Organization: The Arts of Great
Falls Venue: The Arts of Great Falls
City: Great Falls State: Virginia Format: Open
Award Total: $2,500
Contact: Meralee Fredenburgh Phone:
703.795.2137 E-mail: meralee@artsofgreatfalls.
org Website: www.artsofgreatfalls.org
Join us for the 10th Annual Paint Great Falls!
Artists will capture the spring colors and
gorgeous scenery in Great Falls, Virginia — less
than 45 minutes from Washington, DC, but a
world away, with rolling hills, tree-lined country
roads, horse properties, and historic buildings.
Paint the waterfall in Great Falls National Park
on the Potomac River, historic Colvin Run Mill,
charming Great Falls Village Centre, exquisite
private gardens, and historic farms. A list of
suggested painting locations will be provided.
Weeklong event includes a Quick Draw and
culminates with an Award Ceremony Art Show
& Sale.
Paint Menokin
Date: May 15-18, 2024 Opening Reception:
May 15, 2024 Entry Deadline: April 30, 2024
Sponsoring Organization: Menokin Foundation
and JART, Inc. Venue: 4037 Menokin Rd.
City: Warsaw State: Virginia Format: Open
Contact: Janice Jones Phone: 703.887.2878
E-mail: theartscenterofmontross@gmail.com
Website: www.theartscenterofmontross.com
Paint Menokin. A relaxed and social plein air
event with 40 artists painting at scenic Menokin.
Featured are a Wednesday-evening reception,
Friday picnic, and Saturday-evening framed
wet-paint exhibit and reception. No competition
or expectations. Just come paint with friends in
the beautiful grounds of Menokin. Registration
opens February 1,
first come, first served. Follow www.
theartscenterofmontross.com and www.
menokin.org for continuing development of this
event.
Suffolk Plein Air Festival
Dates: September 10-14, 2024 Opening
Reception: September 13, 2024
Entry Deadline: March 1, 2024
Sponsoring Organization: Suffolk Tourism,
Downtown Suffolk, Suffolk Art League, and
Suffolk Center for Cultural Arts Venue: Suffolk
Center for Cultural Arts City: Suffolk State:
Virginia Format: Juried Juror(s) of Awards: TBD
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Award Total: $5,000
Contact: Sandy Hart Phone: 757.641.8120
E-mail: suffolkpleinair@gmail.com
Website: www.suffolkpleinair.org
The City of Suffolk, Virginia, warmly welcomes
artists to paint our pristine waterways, beautiful
farmlands, and historic downtown. This juried
event includes an artists’ luncheon; a ticketed
Wet Paint Sale & Soirée Awards Reception, with
cash prizes over $5,000; plus our “Paint the
Taste” QuickDraw competition held during our
city’s 18th annual “Taste of Suffolk” Downtown
Street Festival that attracts 5,000+ people
from all around the region. Local residents offer
lodging, and special hotel rates are available. We
invite you to join us for this fun artist-focused
event.
The 4th Floyd Plein Air Biennial
Dates: September 22-28, 2024 Opening
Reception: September 23, 2024
Entry Deadline: February 14, 2024 Sponsoring
Organization: The Floyd Center for the Arts
Venue: The Floyd Center for the Arts City: Floyd
State: Virginia Juror(s) of Awards: TBA Award
Total: TBA
Contact: Joli Ayn Wood Phone: 540.449.9078
E-mail: joliaynwood@gmail.com
Website: www.floydartcenter.org
Paint Southwestern Virginia’s most picturesque
views during the 4th Floyd Plein Air Biennial,
September 22-28, 2024! Artists will immerse
themselves in the rolling hills of expansive
Floyd County, painting vistas of the Blue
Ridge Parkway, the beautiful Little River, local
farms, and the Town of Floyd. Events include
demonstrations, Artist Welcome Reception,
Artist/Patron Dinner, Wet Paint Sales, Quick
Draw Contest at the Floyd Country Store and
Friday Night Jamboree, and Gala Celebration
and art sale. Event schedule and application
at floydartcenter.org. This is a juried and
invitational selection. Apply starting January 3,
2024, with deadline to apply February 14, 2024!
Plein Air Abingdon
Dates: October 3-5, 2024 Sponsoring
Organization: Virginia Highlands Festival
City: Abingdon State: Virginia Format: Open
Award Total: $4,000
Contact: Deirdre Cole Phone: 423.963.9007
E-mail: info@vahighlandsfestival.org
Website: www.vahighlandsfestival.org
Plein Air Abingdon is a three-day, open
enrollment painting event now celebrating its
8th year. We invite our community to participate
in a town-wide art celebration produced by the
Virginia Highlands Festival. Visitors can witness
creativity at work on Abingdon’s sidewalks
and farms. Artists spend three days painting
in the open air with direct inspiration from
the mountains, fields, streams, and historic
buildings unique to Abingdon, VA. Familyfriendly events each night will offer artists
the chance to sell their day’s work and art
connoisseurs to obtain their next masterpiece.
Finale exhibit will be hosted by William King
Museum of Art.
Tappahannock Artist Guild
Contact: George Jennings Phone: 804.761.7432
E-mail: george@gbooker3.com
Website: www.tapparts.org
The Rappahannock Wildlife Refuge Friends
Contact: Kathryn Murray Phone: 804.450.4442
E-mail: kam129@aol.com
Website: www.rwrfriends.org/about-us
Washington
2024 PAWA Organization
Contact: Fatima Young Phone: 206.954.0157
E-mail: pawapr@pleinairwashingtonartists.com
Website: www.pleinairwashingtonartists.com
Plein Air Washington Artists. Janelle Kroner,
President president@pleinairwashingtonartists.
com; www.pleinairwashingtonartists.com
PAWA, in its 24th year as a nonprofit
organization, has 350-plus members. Our
mission is promoting and encouraging plein air
painting throughout the state of Washington. A
$30 membership includes participation in our
statewide paint-outs and pop-ups, winter paintins, and two annual juried gallery exhibitions.
Additionally, nationally recognized artists
instruct at workshops for members. Become a
member. Join us on location.
Visit: www.pleinairwashingtonartists.com/join.
Gage Academy of Art
Contact: Madeline Jones Phone: 206.323.4243
E-mail:jones.m@gageacademy.org
Website: www.gageacademy.org
Wisconsin
Plein Air: A Paint Cedarburg Event
Dates: June 8-15, 2024 Opening Reception:
June 14, 2024
Sponsoring Organization: Cedarburg Artist
Guild Venue: Cedarburg State: Wisconsin
Format: Open Award Total: $8,000
Contact: Katherine de Shazer Phone:
262.365.8958 E-mail: katherine.deshazer@gmail.
com Website: www.cedarburgartistsguild.com
Plein Air: A Paint Cedarburg Event is the largest
gathering of outdoor painters in Wisconsin. Our
historic downtown, charming farmland, Lake
Michigan shoreline, and diverse Ozaukee County
scenery provide endless artistic inspiration.
The week begins with Fresh from Cedarburg, a
unique painting event, exhibition, and public
sale held in the Historic District. The 5-day plein
air Main Event includes artistic social gatherings
and culminates with an exhibition, buyer event,
and awards at Cedarburg Cultural Center.
Door County Plein Air Festival
Dates: July 21-27, 2024 Opening Reception: July
26, 2024
Sponsoring Organization: Peninsula School of
Art Venue: Peninsula School of Art
City: Fish Creek State: Wisconsin Format:
Invitational Juror(s) of Awards: Charlie Hunter
Award Total: $18,000
Contact: Crystal Chesnik Phone: 920.868.3455
E-mail: exhibit@peninsulaschoolofart.org
Website: www.doorcountypleinair.com
The Door County Plein Air Festival features 35
invited plein air masters and takes place among
the diverse natural beauty and quaint harbor
towns of the Door Peninsula. Listen and learn
from daily artist demonstrations. Tour partner
galleries where artists paint on site. View and
purchase fresh paintings at our Friday-night
Collectors’ Preview. Bid for your favorite quickpaint piece in Saturday’s live auction or purchase
art during the open house. Online exhibition and
sale through August 10, 2024.
11th Annual Paint the Point
Dates: August 7-10, 2024 Entry Deadline: June
30, 2024
Sponsoring Organization: Arts Mineral Point,
Inc. Venue: Historic Masonic Lodge #1
City: Mineral Point State: Wisconsin
Format: Open Jurors(s) of Awards: A
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Wisconsin to International
committee of three arts professionals TBA.
Award Total: Over $8,000
Contact: Ried Knapp E-mail: contact@artsmp.
org Phone: 608.285.2958
Website: www.artsmp.org
The 11th annual Paint the Point will feature 45
artists competing in Main Event, Nocturne,
Quick Paint, and Postcard events with over
$8,000 in cash and prizes. Main Event paintings
may be painted throughout Mineral Point and
neighboring Dodgeville townships. Mineral
Point, a frontier mining town, was founded in
1826 and holds the slogan “Where Wisconsin
Began.” It is located in the heart of the
Driftless Region — an area noted for beautiful
vistas unscathed by the last glacial period.
Historic limestone vernacular architecture and
surrounding idyllic countryside offer artists
tremendous creative options.
Venue: Mandurah and Pinjarra Format: Open
Juror(s) of Awards: Numerous jurors
Award Total: $12,000+ (AUD)
Contact: Barbara Thoms E-mail:
pleinairdownunder@gmail.com
Website: www.pleinairdownunder.com
Plein Air Down Under is back for its sixth
year, inviting artists to explore the stunning
Peel Region of Western Australia — an idyllic
location for those looking to capture the
essence of coastal, bush, suburban, and rural
landscapes. The festival weekend runs from
September 21-23, with workshops and paintouts from September 17-24. With over $12,000
worth of prizes, there are so many reasons to
be inspired by Plein Air Down Under!
International
Canada
Vancouver, BC
Art in the Open Festival
Dates: July 20-28, 2024 Sponsoring
Organization: Art in the Open
Venue: Greenacres City: Wexford State: County
Wexford Format: Open
Contact: Alma Hynes Email: artintheopen10@
gmail.com
Website: www.artintheopen.org
Join us for the 17th Art in the Open, plein air
painting week in southeast Ireland. Each day
visit different locations including Wexford
Town, coastal scenes, fishing villages,
historic buildings and rural countryside. Bus
transportation is available. Optional workshops
with outstanding professional artists, volunteer
stewards, social events, artist talks, costume
dinner, charity quick draw event, and two-day
exhibition with awards. Make Europe’s largest
painting festival the focal point of your Irish
holiday!
Winding Rivers Arts and Performance Society
Contact: Martina Duncan Phone: 250.453.2022
E-mail: windingriversarts@gmail.com
Website: www.windingriversarts.ca
Ontario
The Great Migration Paint-Out
Plein Air Painting Competition, Exhibition,
and Sale
Dates: October 17-20, 2024 Opening
Reception: October 20, 2024
Entry Deadline: October 16, 2024 Sponsoring
Organization: The Town of Kingsville
Venue: The Grovedale Arts and Culture Centre
City: Kingsville Province: Ontario
Format: Open
Award Total: Over $4,000
Contact: Layne van Loo E-mail: layne.vanloo@
hotmail.ca Phone: 226.345.3714
Website: www.kingsville.ca/paintout
Kingsville is located on the north shore of Lake
Erie on the 42nd parallel, the southernmost
point in the province. The town is home to the
Jack Miner Bird Sanctuary, where thousands
of Canada Geese stop over to rest on their
migration route in spring and fall. We welcome
you to come and paint our variety of historical
buildings, marinas, quaint farms, and lakeside
vistas while enjoying the hospitality and
amenities the town has to offer.
Windsor & Essex County Plein Air Artists
E-mail: paintpleinair@gmail.com Website:
https://wepleinair.wordpress.com
Western Australia
Plein Air Down Under 2024, Peel Region of
Western Australia
Dates: September 21-23 with extended period
from September 17-24, 2024
Opening Reception: September 20, 2024
Sponsoring Organization: Mandurah Plein Air
Artists Inc.
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Online
Watercolor Live Presented by PleinAir
Magazine
Dates: January 24-26, 2024 (Essential
Techniques Day January 23)
Sponsoring Organization: PleinAir Magazine
Venue: Online
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: watercolorlive.com
More and more plein air painters are picking
up watercolor or gouache because of the
ease of travel and no need for mediums. If you
want to learn about how to do it, or accelerate
your progress as a painter, Watercolor Live
is an online event designed for watercolor
artists and those who want to be. It’s 3 days of
demonstrations from over 30 leading artists,
plus painting critiques, roundtable discussions,
Q&A with your favorite artists, painting
together, and more. There’s even an optional
Essential Techniques Day for those that need
a refresher before the main event. This event
is held online, so you can enjoy it from the
comfort of your own home.
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: pleinairlive.com
If you’re looking for a way to accelerate your
painting skills rapidly, and an alternative to
expensive travel, PleinAir Live features 30 of
the finest landscape painters on earth, over
3 days, plus an optional Essential Techniques
Day before the main event starts. Essentials
Day is a great opportunity for those who need
a refresher before the main event, or those
just starting out. Join us for demonstrations,
lectures, painting critiques, discussions, group
painting, and more … all online from the
comfort of your own home.
Pastel Live Presented by PleinAir Magazine
Dates: September 18-20, 2024 (Essential
Techniques Day September 17)
Sponsoring Organization: PleinAir Magazine
Venue: Online
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: pastellive.com
Sometimes we want to try new mediums,
or seek ways to enhance our creativity. For
decades artists have turned to pastel for
brilliant, vibrant colors. Pastel painting is a
huge worldwide trend. Pastel Live is an online
event consisting of 3 days of demonstrations
from 30 of the world’s leading pastel artists,
lectures, painting critiques, discussions, and
more. There’s even an optional Essential
Techniques Day before the main event.
Essentials Day is a great opportunity for those
that need a refresher before the main event,
or those just starting out. Join a worldwide
audience of passionate pastel painters and
those who want to discover more about it. This
event is held online, so you can enjoy it from
the comfort of your own home.
Realism Live Presented by PleinAir Magazine
Dates: November 6-8, 2024 (Essential
Techniques Day November 5)
Sponsoring Organization: PleinAir Magazine
Venue: Online
Contact: PleinAir Magazine
Phone: 561.655.8778 or 800.610.5771
Website: realismlive.com
There are many forms of realism. For instance,
many paint impressionist paintings, while
others paint or draw tight, realistic subjects.
Realism Live is a 3-day virtual event that
contains art instruction demonstrations,
talks on art principles, lectures on art history,
painting critiques, and artist roundtable
discussions. It includes all styles of realism,
painting mediums, and subjects including
figure, portrait, still life, landscape, floral,
and more. There’s even an optional Essential
Techniques Day before the main event.
Essentials Day is a great opportunity for those
who need a refresher before the main event, or
those just starting out. This event is held online,
so you can enjoy it from the comfort of your
own home.
PleinAir Live Presented by PleinAir Magazine
Dates: March 6-8, 2024 (Essential Techniques
Day March 5)
Sponsoring Organization: PleinAir Magazine
Venue: Online
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Contact: Stephen Crisafulli Phone:
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air frames and offering a variety for all genres.
We offer flat-rate shipping of $19.95 and free
shipping with orders over $500! We also offer
custom sizing on any frame. Visit our website
and compare price, quality, and selection. We
look forward to serving you!
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Contact: Charlie Mauldin Phone:
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Website: https://enpleinairpro.com
Take your art studio into the field with En Plein
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Alexandria Museum of Art..........................................................................UG27, UG31
Knoxville Museum of Art/Artists on Location ..................................................... UG45
Alla Prima Westcliffe, Sangres Art Guild ................................................... UG16, UG22
Laguna Plein Air Painters Association ..................................................... UG20, UG55
American Impressionist Society .........................................................UG28-33, UG39
Lighthouse ArtCenter .................................................................................... UG22-23
Art In the Open, Ireland............................................................................ UG39, UG48
Lost Sierra Plein Air..............................................................................................UG18
ArtFrames.com.................................................................................................... UG53
Monterey Bay Plein Air Painters Association ........................................... UG22, UG42
Arts Mineral Point/Paint the Point ............................................................ UG45, UG48
NC Plein Air Art Festival New Bern........................................................... UG24, UG42
Arts of Great Falls.................................................................................................UG47
New Braunfels Art League, Two Rivers Plein Air ................................................. UG46
Augusta Plein Air Festival........................................................................... UG4, UG34
New Iberia Parish, Shadows-on-the-Teche Plein Air Competition............UG27, UG42
Big Sky Artists - Paint Under the Big Sky ............................................UG34-39, UG39
Ohio Plein Air Society ....................................................................................UG42-43
Bisbee Plein Air Festival / Central School Project................................................UG16
Oil Painters of America ............................................................................ UG25, UG43
BLICK Art Materials............................................................................................ UG 56
Olmsted Gallery ....................................................................................... UG24, UG36
Blowing Rock Art & History Museum .......................................................UG18, UG43
Open Studios ...................................................................................................... UG22
Bluff Strokes............................................................................................... UG6, UG26
Orange County Arts Commission ....................................................................... UG43
Borrego Art Institute .................................................................................UG18, UG34
Outdoor Painters of Minnesota/Plein Air Grand Marais......................UG33-34, UG43
Bozeman Art Museum.................................................................................UG7, UG39
Outdoor Painters Society/Plein Air Southwest........................................ UG33, UG46
Brushes by the Beach c/o G. Lee Gallery ............................................................ UG46
Paint Annapolis - Maryland Federation of Art ........................................... UG27, UG37
Cape Ann Plein Air, Inc................................................................................... UG32-33
Paint Historic Waxahachie, Ellis County Arts Association....................... UG26, UG46
Carmel Art Festival, City of Carmel................................................................UG2, UG26
Paint It Ellicott City/Howard County Arts Council .............................. UG27-28, UG38
Cashiers Plein Air Festival-The Village Green .......................................... UG32, UG42
Peninsula School of Art.............................................................................UG25, UG47
Cedarburg Artists Guild - C/O Mel Austin.................................................UG39, UG47
Plein Air Artists Colorado......................................................................... UG22, UG36
Colorado Monuments and Canyons Plein Air Invitational ....................... UG22, UG45
Plein Air Down Under ............................................................................... UG43, UG48
Come Paint the Sandhills of Nebraska .................................................... UG39, UG45
Plein Air Easton .............................................................................................. UG27-28
Crooked Tree Arts Center ........................................................................ UG33, UG35
PLEIN AIR SMOKIES ........................................................................................... UG45
Culver and Lake Maxinkuckee Visitor Center .......................................... UG26, UG36
Plein Air Washington Artists .................................................................... UG44, UG47
De Smet Development Corp ............................................................................... UG44
Plein Air West Reading ........................................................................................ UG44
Desert Plein Air Association.......................................................................UG18, UG41
Roger Tory Peterson Institute ................................................................... UG35, UG41
Downtown Driggs Assoc./Driggs Plein Air ............................................... UG24, UG41
Saranac Lake ArtWorks - Adirondack Plein Air Festival ............................UG41, UG44
Eagle Plein Air Festival & Competition...................................................... UG25, UG41
Sedona Arts Center/Sedona Plein Air Festival.......................................... UG18, UG28
Eastern Shore Art Center .....................................................................................UG16
Sonoma Plein Air Foundation.............................................................................. UG20
En Plein Air Pro.................................................................................................... UG53
St. Augustine Art Association .................................................................. UG23, UG35,
EnPlein Air Texas/San Angelo Museum of Fine Arts ................................ UG20, UG46
Steamboat Art Museum ..............................................................................UG5, UG22
Escalante Canyons Art Festival.................................................................UG45, UG47
Suffolk Center for Cultural Arts .................................................... UG29, UG44, UG47
Forgotten Coast Cultural Coalition............................................................ UG3, UG23
Telluride Plein Air/Sheridan Arts Foundation........................................... UG22, UG44,
Frank Bette Center for the Arts/Plein Air Paint Out ..................................UG20, UG41
The Art Center of Montross..................................................................................UG47
Gage Academy of Art............................................................................... UG30, UG47
The Floyd Center for the Arts / Floyd Plein Air Festival.............................UG29, UG47
Georgetown Heritage Center and Cultural Arts ................................................. UG22
The Great Migration Paint Out, Town of Kingsville ............................................. UG48
Grand Canyon Conservancy- Celebration of Art .................................................UG16
Venice Plein Air ........................................................................................UG24, UG37
Guild of Berkshire Artists ......................................................................... UG28, UG42
Village of Barrington, Plein Air............................................................................ UG25
Highland Lakes Creative Arts/Paint the Town Marble Falls ..................... UG32, UG46
Virginia Highlands Festival Plein Air Abingdon......................................... UG37, UG47
Hill City Arts Council................................................................................ UG34, UG44
Visual Arts Guild of Frisco - En Plein Air Frisco ................................................... UG46
Hockaday Museum of Art ........................................................................ UG33, UG39
Wallkill River Center for the Arts - Hudson Valley Plein Air Festival .........UG41, UG46
Indiana Plein Air Painters Association ...................................................... UG17, UG26
Wayne Art Center/Wayne Plein Air Festival .............................................UG30, UG43
Joyce, Shawn Dell .......................................................................................... UG23-24
Winter Park Paint Out............................................................................... UG23, UG38
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Plein Air Collector
Living With Art
Sometimes it’s love at first sight; other times it’s a slow burn. This art collector describes the qualities that drew
him to a favorite painting, what sealed the deal, and his process for finding the right spot for it at home.
BY DAVID MASELLO
Y
ears ago, I purchased a painting
that depicts a house and garage,
and, because I have lived with
it ever since, the work still acts
as a kind of night light for me. A
window in the second story of the work’s brick
dwelling is filled with the glow from a lamp. A
sharp yellow ray cuts across the door of the
white garage, making the viewer wonder if the
source is incandescent or the light of the moon.
I found the work at the Plein Air Easton
art festival in Easton, Maryland, one Saturday morning several summers ago. When
I first saw it hanging on display in the town
museum whose walls were used to showcase the participants, I hesitated, as I always
do when I want to buy a painting. I walked
through the galleries again and again, expecting to find a work even more compelling. But
I didn’t. Then I viewed the canvas from different angles and distances, trying to overhear
other people’s comments about the work as I
looked at it — seeking confirmation, perhaps,
that my choice was right.
I futilely tried to convince myself that
the painting lacked an element of poetry —
that introspective quality I covet in every
painting I own. But it did possess that. I
believed that the artist was aware of the solitude of the subject — that the house and its
accompanying garage were invested with an
intrinsic character. She knew, too, that this
seemingly prosaic scene she encountered in
a small Maryland town had an integrity and
resonance beyond its overt form and composition. She recognized that a nearly all-dark
house with a white garage and tall trees set
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against a gradient midnight-blue sky were
worthy of depiction.
As the credit-card machine chigged away,
processing my purchase, a woman holding
the hand of a young girl came up to me.
“I’m the artist who painted the work you
just bought,” she said. “I saw them affix the
red dot. My name is Shirl Ireland.” She was
nearly breathless with excitement. “This is
the first time I’ve participated in this competition,” she added, as if this information might
explain her bewilderment.
I expressed my praise for the painting,
and noted the uncanny coincidence of her
having seen me at the very moment it was
being bought. But because I, too, was suddenly self-conscious, I addressed my compliments to the little girl, who was introduced to
me as the artist’s daughter.
“Your mother is a very good painter. The
moment I walked into this show and saw her
painting on the wall, I said, ‘That’s the one I
want.’ And now I have it.”
The little girl turned and buried her head
in her mother’s side.
“I like it, too,” said the artist. “It’s one of
my favorite works.”
The previous night at the museum, I
had heard similar remarks from another artist whose work — a mottled composition of a
wooden toy sailboat moored in a workshop
vise — had just been sold. When I asked him
if he felt any sadness at seeing a favorite work
of his leave him, he said, “For me, painting
is more about being in love with the process
than with the finished product. There’s the
thrill, of course, of finishing the piece, but
then, not too much longer after that, I’m
thinking, ‘Okay, what’s next?’”
Ireland and I spoke about the details in
the painting I now officially possessed — the
chosen colors, especially the subtle lavender
cast overlaying the white paint, the drama
of the angle of light crossing the canvas, the
rectilinear composition of shapes, the almost
anthropomorphic quality of the house’s face.
“I wanted to do a painting about geometry,” she said. “I even wanted to call it
Geometry. And there was something so different about setting up my easel in the evening
and painting by streetlight. That’s nothing
I’ve ever done before. I didn’t even know you
could paint in the dark.”
I told her I lived in New York, and I
handed her a business card that revealed my
role as a magazine editor. I did that to prove I
was worthy, somehow, of owning her painting.
The painting was so new that the smell
of its colors (and colors do have particular
scents) perfumed the immediate air with a
musk while the cashier handed it to me, as
I hinged the frame to my fingers. The paint
would need days to dry.
For the 200-mile drive back home to
Manhattan, I placed the painting face up in
the back seat, its scent filling the rental car. As
I coursed Maryland’s Eastern Shore and found
my way back to I-95, I kept imagining conversations the artist might be having back in town.
Midway on my drive home, I reached
the still-manned toll plaza for the Delaware
Memorial Bridge, which vaults not only the
wide namesake river, but also an unpopulated city, of sorts, created by DuPont — an
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Easton at Night by Shirl Ireland
expanse of terrible, reeking beauty, a skyline
of Byzantinely complex chimneys and pipes
and valves. The toll-taker, while counting out
my change, cocked her head to look through
the window at the painting on the back seat.
From her perspective, it was upside down
and tilted, yet for those few seconds, she saw
its colors and shapes, the alchemic allure
of the gold frame circumscribing it. The
shaded peace and safety of the small-town
street and its house, how different that all
was from the landscape surrounding us at
that moment.
Over her shoulder, in the distance, blue
flames leapt from industrial stacks and the
gnarled assemblages of refineries, acned
with red lights, gauzed the air with burning
methane and sulphur. Here was a subject for
a plein air work, perhaps, though the painter
would likely need a gas mask while daubing
away at the canvas.
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Once I arrived home, I nestled the painting in a wing chair in my bedroom, to protect it
as it continued to dry — but also so that I could
look at it as I read in bed. That scene would
be the first thing I would see upon awakening.
As soon as the morning sun filled the room,
I anticipated my first viewing of the painting
on its first day in my possession. The pleasant,
clay-like scent of oil paint was apparent in the
room. I was so happy to see the scene again
that I carried it with me to the living room sofa
where I could look at as I ate breakfast.
And as I do with every new painting I
buy, I moved it with me wherever I went in
the apartment — hanging it on a wall above
the pass-through, positioning it as the centerpiece over the dining table, even leaning it
in front of the TV. Then I would carry it back
to the nest of the bedroom chair. Within days,
I found the right place for it: on a wide support column next to my kitchen sink, a spot of
my home where I am every day, throughout
the day. And observing a ceremony I know
well, I hammered in the nail and hook, and
stretched the wire until it was taut. I felt my
way to the hook and lowered the work on to it.
I slid it back and forth until it was level. And
then, a familiar part of my home became new.
As the painting called Easton at Night
continued to dry, I thought of the scene it
depicts as a single fragile thing, akin to that
soft portion of an infant’s skull, that patch at
the top of the head that needs to be carefully
protected as the body seals itself. And, so, my
painting feels alive to me, a precious presence
of life in my own.
DAVID MASELLO writes about art and culture.
He’s a widely published essayist and poet,
and many of his short plays and monologues
have been produced by theater companies in
New York and Los Angeles.
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Swim Club
Krentz Johnson
2022, casein, 16 x 20 in.
Available from artist
Plein air
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Go
A
s social creatures, we immediately focus on figures in
a painting, expecting their gestures and expressions to
unlock the meaning of the picture. We can’t help but wonder who they are and what they’re doing in the space created. It hardly matters how big or small they might be, or
how impressionistic or realistic their depiction. Figures engage the
viewer, create energy, and tell a story.
BY KELLY KANE
Afternoon Break, Michele Usibelli, 2021, oil, 12 x 12 in., private collection, plein air
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Early Lunch
Durre Waseem
2023, oil, 16 x 20 in.
Private collection
Plein air
Wishing
Naomi Tiry Salgado
2023, oil, 12 x 20 in.
Available from artist
Plein air
(LEFT) Telluride Text, Rita Pacheco, 2019, oil, 20 x 10 in., available from artist, plein air •
(TOP) Just Walking the Dog, Sharon Weaver, 2019, oil, 8 x 10 in., private collection, plein air
and studio • (ABOVE) Joyful Breeze, Chuck Kovacic, 2021, oil, 24 x 24 in., available from
artist, studio from plein air sketches
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(CLOCKWISE FROM UPPER LEFT) Rhythm and Time, Krystal W. Brown, 2022, oil, 24 x 12 in., private
collection, plein air • Summer Shadows, Laurel Daniel, 2023, oil, 12 x 12 in., available from artist,
plein air • Vernazza Beach Morning, Camille Przewodek, 2020, oil, 20 x 16 in., private collection,
studio from plein air study • Community Band, Jessie Rasche, 2021, oil, 12 x 16 in., available from
artist, plein air
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(CLOCKWISE FROM UPPER LEFT) This Is Bliss, Jill Banks, 2021, oil, 16 x 20 in., available from
artist, plein air • Absorbed, Steven R. Hill, 2023, pastel, 20 x 26 in., available from artist,
plein air • No Egos Here, Val Sandell, 2023, oil, 24 x 18 in., available from MMAM, Winona,
MN, plein air and studio • Barefoot, Jeff Mathison, 2018, watercolor, 11 x 14 in., available
from artist, plein air •
plein air
Pop Up Art Show, Julie Riker, 2019, oil, 8 x 10 in., private collection,
EXPANDED DIGITAL EDITION CONTENT
Street Fair
Dennis Young
2019, oil, 11 x 14 in.
Available from Mo’zArt Gallery, New Castle, DE
Plein air
California Dreaming
Patrick McGannon
2019, oil, 16 x 12 in.
2022, oil, 12 x 16 in.
Available from artist
Available from artist
Plein air
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Fading Light
Katherine Jennings
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A Little Night Music in Virginia
Catherine Hillis
2023, watercolor, 10 x 8 in.
Available from artist
Plein air
5 O’ Clock
John T Eiseman
2022, oil, 12 x 16 in.
Available from artist
Plein air and studio
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MARGARET
LARLHAM
of
and
This theater veteran digs deeply into subject matter, making multiple
versions of a scene with varying degrees of abstraction, all while taking full
advantage of pastel’s vibrancy.
O
Surf Chuckles
2022, pastel, 11 x 14 in.
Private collection
Plein air
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BY BOB BAHR
ne way to get to know Margaret Larlham’s artistic mind and painting approach is
to sit with two of her pastel paintings, Surf Chuckles and Monkey’s Wedding/Grand
Canyon. Both pieces demonstrate her affinity for experimentation and embrace of
“mistakes.”
In the case of Monkey’s Wedding/Grand Canyon, it also hints at her South
African heritage, as the phrase “monkey’s wedding” in that country refers to the peculiar effect
of sunshine during a rainstorm. The piece was painted back in the studio after a plein air outing
a year earlier at the Grand Canyon. It reflects her experience of the subject and the information
gleaned from her plein air study.
Technically, it leans on Larlham’s use of isopropyl alcohol to let pastel pigment run down the
sanded pastel paper to form an organic-looking underpainting. Atmospheric perspective, tough
to present in a piece with warm and vibrant color in the distance, is achieved through layered elements in the landscape, strategic details (such as the bare tree on the left, the rim light in the canyon
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DEMONSTRATION:
MAKING A PLAN, THEN GOING WITH THE FLOW
VIEW OF SCENE
About this scene at the Torrey Pines State Nat-
STEP 1
To start, she makes a notan sketch to plan the
STEP 2
Here you can see Larlham’s large setup, featuring
ural Reserve, Larlham says, “My attention was
drawn to the subtle value shifts of nearby and
distant canyons against the morning light and
the silhouetted lane of trees intersecting the
foreground and background.”
composition. “I carry an ink pen and notebook
everywhere I go,” says the artist. “I stand
somewhere and get that out of the way before
I even set up. If I feel there’s something there,
then I will go on and paint.”
pastels from several manufacturers. She also has
an extremely lightweight, homemade setup constructed out of foamcore, with far fewer pastels.
STEP 3
To establish the overall design of the piece, with
an eye toward color temperature, the artist lightly
scumbles pastel in a very simple way.
STEP 4
Next, she dips a brush in isopropyl alcohol and
pushes the pigment into the sanded pastel paper
to create an underpainting. “I’m using the brush
to explore hints of energy in the dynamic formation lines of the landscape,” she says.
STEP 6
To balance the warmth of the reddish brown, Larlham counters it with dark, medium, and light versions
of blue green. “You use the materials you have,” she says. “I could have viewed the reddish-brown pastel as a mistake, but I accepted it and saw that there was an advantage to working in this way.”
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STEP 5
Larlham then embarks on the drawing phase of
the painting, settling down to explore the focal
point and expressing the shadow areas with a
dark pigment. She usually uses vine charcoal
for this stage, but, having misplaced it, she
happily picks up a reddish-brown pastel stick.
FINAL STEP
“As the sun rose higher, the foliage and foreground became more animated,” Larlham
says. “I used the same pale yellow that I used
in the sky to lighten the distant diagonal road.
I added glimpses of orange earth in the foreground, and added a yellow-green edge to the
trees and darker shades to suggest the play
of light on the thick vegetation in the canyon
below. I liked the backlit areas and exaggerated the effect of the back light hitting the
trees in the foreground.”
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Palo Verde Wash, 2022, pastel, 18 x 24 in., private collection , plein air
Clark Lake/Borrego Desert, 2020, pastel, 11 x 14 in., available from artist, plein air
in the right middle ground, and the streak of orangey-yellow clouds in
the righthand sky), and the subtle surprise of the setting sun’s placement
off-center to the right of the central valley.
“This came about from being familiar with the subject, having painted
it several times,” Larlham says. “The painting summarizes my experience of painting in between rain and sun — a dramatic weather situation.
I found a useful connection between the running of the pigment and
alcohol, and the rain pouring — but also the sun pouring. The effect
connected realistically to the experience.” The piece also expressed the
dance she does with abstraction. “Sometimes I get exasperated with the
abstraction when it’s prominent, and I have to temper myself by trying
to do something very accurate in the next painting,” she says. “I like to
Monkey’s Wedding/Grand Canyon
2023, pastel, 16 x 20 in.
Private collection
Studio
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Thursday Sunrise/Grand Canyon, 2022, pastel, 9 x 12 in. ,
private collection, plein air
Slow Dancer, 2023, pastel, 12 x 16 in., available from Grand
Canyon Conservancy, Grand Canyon Village, AZ, studio from
plein air
Scent of Lavender, 2023, pastel, 9 x 12 in. ,
available from artist, plein air
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Marston House Garden
2022, pastel, 16 x 12 in.
Available from Marston House Museum Shop, San Diego, CA
Plein air
Neptune’s Place, La Jolla, 2022, pastel, 12 x 18 in., available from artist, plein air
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think that I’m moving toward more abstraction, but I
balance it.”
Surf Chuckles is much more representational, but
still surprising. It works in tandem with Neptune’s
Place, La Jolla in showcasing Larlham’s approach to
depicting the ocean and its movement, color shifts,
and drama. The sea is known for its terrible beauty; it
represents nature’s allure and destructive power, its
unpredictability and adherence to physical laws, its
changeable nature and enduring character. She found
the subject on that day utterly delightful.
“The waves were cheerful — not ominous like
they can be,” says the San Diego artist. “They were
just chuckling and chattering around. There were
some harlequinesque shapes in the foreground that
I liked and used to capture the rocks. The ocean is
chaotic, which gives you permission to do that. I finished this piece 100 percent en plein air, capturing an
intact experience and encounter with the sea.”
The variety of color and texture in the water and
the rocks is appealing, but also note some of the isolated,
bold strokes of contrasting color here and there. Their
story is a delightful one. Some artists have a surface near
their painting on which they experiment with color
swatches before applying a color to the painting itself.
Larlham places those swatches right on her composition, and often leaves them untouched. The standout
rock you may admire in the middle ground could very
well be a simple color swatch, an artifact of the painting
process in addition to being a compositional element.
“I put down little patches of color with the
sticks to see if the color works,” she explains.
“Sometimes I look up and decide I love the patches.
I may not even follow through with my plan for that
color, but having put down these little markers and
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then changing my mind, it turns the painting into an expression of the
process of painting rather than the subject.” Perhaps think of them
not so much as mistakes, but as surprises she decides to leave.
MANIPULATING OPPOSITIONS
Pastel’s provocative color and Larlham’s fearlessness regarding abstraction come together in Marston House Garden, a piece that uses a strongly
vertical format to capture the full depth of the depicted scene and ably
recreates the feeling one gets when seeing the almost overwhelming riot
of hues in a garden setting.
“My strategy was to use the lighter valley and stronger colors in the
foreground to create depth,” says the artist. “The physical experience there
is one in which you overlook the flowers, peer through the foliage, and let
your eye go through the canyon to the houses on the other side. I used saturated colors to drive interest to the bottom of the painting. My goal was to
nail the explosion of delight that happens when you discover flowers.”
It’s a busy scene, and a dramatic one. This makes more sense when
one considers Larlham’s past. For years, she served as director and
dancer in the theater, and she taught theater at San Diego State University, as well as at the University of KwaZulu-Natal in Durban, South
Africa. All along the way, she painted.
“The visual aspects of theater do connect to painting via scenery, but
equally important is the use of lighting in theater to emphasize important
aspects of the story,” she says. “The powerful effects of lighting overhead,
below, and to the side are taken from nature, and their use in theater and
painting takes you back to nature. Theater also uses colored lighting and
smoke in the air. That low light coming in the evening or the morning?
Theater borrows those exciting moments and uses them freely.”
Larlham continues, “Also, I learned that many of the theories of
dance are tied to oppositions — slow or sudden, heavy or light, focused
or flexible. Those oppositions are also connected to color and painting.
My interest in manipulating oppositions has stayed the same, whether
directing a play or making a painting. When directing a play, there’s a
strategy in which you are leading the focus of the audience. In the painting it’s just on a wall, and people could look at it or not look at it. But the
great painters help you to see what’s really going on. They put in supporting ideas or opposing ideas to move the viewer to the place that the
painter has constructed.” Think of the value contrasts in paintings, and
the temperature contrasts.
THE ROLE OF PLEIN AIR
Her plein air work informs her subsequent explorations of the same subject
matter, and occasionally a plein air piece stands on its own as a finished painting. Her process and output may seem weighted in favor of studio pieces, but
to collapse Larlham’s process to that appraisal would be misleading.
“Plein air painting is extraordinarily important to me,” Larlham says.
“It was always a balancing act, juggling the very heavy social life of theater
and the quiet of painting, but over the years painting has become a calming and spiritual thing. It’s also greatly surprising and delightful that people enjoy my paintings. It’s rewarding to share my view of what is going
on. Painting was something I did on the side for years, and now it’s in the
center of my life. I feel very lucky to pursue this.
“Part of the trouble in today’s education is the terrible neglect of the
arts. If we all had the opportunity to express ourselves, we wouldn’t have
as much crime or violence as a society. We would be able to talk more.
The arts encourage deeper insight into our own selves as well as insightful connection to other people.”
BOB BAHR has written about visual art for various books and publications
for 18 years. He lives and works in the Kansas City area.
Radiance/Borrego Desert
2022, pastel, 18 x 24 in.
Available from artist
Studio from plein air
For MARGARET LARLHAM, direct painting is critical. “If I don’t go out to
paint every day, wherever I am, I get a bit cranky with myself — so I try to
avoid that for everyone’s peace of mind!” she says.
ADDITIONAL CONTENT FOR DIGITAL SUBSCRIBERS
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EXPANDED DIGITAL EDITION CONTENT
(CLOCKWISE FROM UPPER LEFT)
Dusk/Santa Ysabel
2021, pastel, 12 x 16 in.
Private collection
Studio
Thenceforth
2021, pastel, 40 x 32 in.
Available from artist
Studio from plein air studies
Molten Morning
2022, pastel, 9 x 12 in.
Private collection
Studio
Desert Grace
2021, pastel, 18 x 24 in.
Available from artist
Studio from plein air studies
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Awakening
2023, pastel, 16 x 20 in.
Available from artist
Studio
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Blushing Mountain/Borrego
2021, pastel, 5 x 7 in.
Private collection
Plein air
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Sedona
2021, pastel, 5 x 7 in.
Private collection
Plein air
Kindly Light/Borrego
Desert
2022, pastel, 9 x 12 in.
Private collection
Plein air
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MICHELLE
JUNG
of
in
Breaking Waves
2020, oil, 12 x 24 in.
Available from artist
Plein air
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From plein air landscapes and seascapes to
large-scale florals, the through-line of this
artist’s work emanates from her love of nature.
BY JENN REIN
T
en years after achieving her Master of Fine
Art in painting at San Francisco’s Academy
of Art University, Michelle Jung moves
flexibly through her creative goal-setting.
In doing so, she enables her love of the
outdoors to present on the canvas in unexpected ways.
ESTABLISHING A CALLING
Jung is known primarily for her seascapes and for having earned the 2019 Alden Bryan Memorial Award for
Landscape from the historic Guild of Boston Artists,
and her advancing strokes in the art world are readily
apparent. She explains that upon earning her MFA in
2013, she assessed what her measures of achievement
might look like in one-, two-, five-, and 10-year spans.
“I got to the sixth year, and I had achieved all that I
hoped to through year 10,” she says. “I’ve started goalsetting one year at a time now.”
One of the goals she has achieved that sets her
work apart is the curation of a solo museum show. In
2021, Making Waves: A Solo Exhibition opened at the
Santa Paula Art Museum in Santa Paula, California.
Working primarily in oil, but also accomplished
in watercolor, pastel, graphite, and pen and ink, Jung
believes in the value of a well-honed workshop. She
names landscape painters Scott Christensen and Kevin
Macpherson as those among her instructors who
impart the true value of that kind of environment. “It
should really be called a retreat,” she says. “You don’t
want to go there feeling like you’re in competition with
the other students. And the teachers really try to make
you feel comfortable. At Kevin’s workshop, his very talented artist wife makes us dinner. They invite you into
their home, and it really matters.”
She admits that her draw to instructors of this
caliber is anchored in landscape painting. In fact, her
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chosen workshops have all centered around
landscape as a subject. Yet she carried these
traditional plein air tools and techniques into
her own environment, where she developed a
focus on water. She presents her work in series
format and is now immersed in floral themes.
The brushwork of this successful artist is borne
from a long tradition in outdoor painting, and
her intuition remains her most reliable guide on
how to apply what she has learned thus far.
INSPIRATION AS INNOVATION
At the time of this writing, Jung was on the precipice of releasing her Mirage series. Brought
to completion in the space of her new studio
near Las Vegas, these are large-format floral
depictions that are mirrored on two halves of a
canvas. Once the artist’s hand has brought the
petals to life through her classic technique, a
color field is overlaid on the composition.
The manner in which Jung considers the
lighting for these harmonies is a bonus to the
viewer. Depending upon how she is casting light
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(ABOVE) California Eucalyptus, 2017, oil, 40 x 48 in.,
available from artist, plein air and studio
(LEFT) Maui Tree Study — Kihei, HI, 2018, ink,
10 1/2 x 7 1/2 in., collection the artist, plein air
and shadow, with a very specific method of
featuring work in her space, the color brings
the blooms to life. The movement that
results on the canvas from her knowledge
of presentation makes all the difference.
It is perhaps the many moods of
nature, and Jung’s exposure to the outdoors, that have fed her development not
just as a plein air painter, but as an artist
who is willing to take risks in her themes.
“If we are living in a world on screen, that
is our reality,” she says. “I am trying to
touch on the points of what my reality is
right now. This series is a statement about
where nature exists in art. Everything is
filtered, and that is how we see things. I
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Queen
2023, oil, 48 x 36 in.
Available from artist
Studio
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Grace, 2023, oil, 40 x 30 in., available from
artist, studio
feel like I’m in contemporary realism
right now.”
The student who focused so
heavily on what she calls “the master’s
way” by learning to manipulate materials properly in order to find truth in
realism says now, “Maybe that’s not
how I see an ocean or florals. I always
want to learn how to better communicate what I’m seeing. I want to engage
the personal vision, too, of the viewer.
This goes beyond realism.”
She continues to use her technical senses in the realism genre and
declares that nature is always there.
“I’m using the traditional as my foundation, but I don’t want to create work of
the past. I think learning how the masters created is crucial, and for me plein
air painting is part of that. But I want to
be present and relevant, and I became
frustrated that I was producing art that
is someone else’s way.”
Jung’s method of planning for her
next series is to continually take visual
notes, using a variety of mediums and
surfaces to document the muse at
work. These are organized in her studio, accessible through a drawer system. As she retrieves examples from
the recesses of these storage spaces,
it is easily seen that she remains open
to the whim of creativity. There are
compositions in pastel, charcoal, oil,
and pencil.
Representational form is present,
along with her own sense of play. She
pulls out a deeply rich red composition, with no true lines or edges that
would depict a recognizable view.
“It’s so extreme here [in Nevada]. The
light is searing and so is the heat. And
this is what that looks like to me. Plein
air work sometimes becomes about
relaying color, and about how nature
is affecting me.”
DRILLING INTO DETAIL
During the final days of 2022, Jung participated in Art Week Miami for
the first time. As an artist without gallery representation, her booth was
juried into the show. Once established, her space was mistaken for a
gallery booth multiple times. “I was taking cards from artists who were
curious about representation,” she laughs. Ultimately, the work she
accomplished at this event went far beyond her art, and connecting with
her peers became an integral part of the experience.
As an artist who spent time marketing art and selling it before going
into her full-time practice, Jung possesses an entrepreneurial edge. She
is capable of taking in the full experience and paying attention to details
that only a savvy business owner would recognize. “It’s not so much
about how the work is received,” she says “It’s about me learning how
Monterey Bay, CA, 2018, ink, 7 1/2 x 11 1/2 in., collection the artist, plein air
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The Pinnacle, 2015, oil, 30 x 24 in., available from artist, plein air
this event is run, what other conversations are going
on among my peers, and how I am relating to that. I
came out learning more about selling and shipping
materials. Being an artist is not just about creation.
It’s about what you learn along the way about the
effort. Marketing, logistics, and how to remain in
problem-solving mode is a concern.”
Jung’s approach during the first full day of public access to the show was to hire someone to work
her booth while she retreated to her hotel room to
speak to clients and focus on sales. Her series, entitled Flowers Have Feelings Too, was shown alongside
select pieces from her Flora and Garden series. All of
her sales, with the exception of four paintings, were
sold pre-show, further demonstrating her intention to succeed not just by putting her artistic voice
into the world, but by dedicating the time needed to
address her own bottom line.
“This part of my learning as an artist is not about
perspective or color theory. I’m in a stage of absorbing the logistics that come with moving the art and
getting it to the buyer. If you get a commission to do
something big and you don’t fully understand how
that final piece is going to get into the hands of a collector, you might lose money. Problem-solving is not
all in the paint.”
Although she may not always shine a light on how
her art is received, the appeal of a Jung composition is
easily witnessed through how the work moves. During the last 30 minutes of Art Week Miami, one of her
pieces was purchased and taken into the renowned
permanent collection of Jumaane N’Namdi’s family.
Given his role as director of N’Namdi Contemporary
Miami and N’Namdi Chicago, the collector’s purchase speaks volumes to the quality of Jung’s artistic
voice and her choices in theme.
THE BENEFIT OF THE EXPERIENCE
Jung started 2023 with the intention of seeing as much art in person as
possible. Working within her husband’s frequent travel schedule, she targeted visits to museums and exhibits. “I found I was trying to manipulate
dates just so I could see certain things,” she says with a laugh. She refers
to the pure rush of seeing a show that is curated for just one talent.
“There’s a feeling that cannot be duplicated when such care is taken
to select just the right work for an exhibit. To be able to really look at the
art, to see the impact and feel the art in the room. Each painting talks to
another. I’m putting myself in a position to be able to ask who is communicating best with their work, and it’s moving me to speak my own truth
and tell my story better.”
Her tendency now to tackle yearly goals has everything to do with
focusing her creative process on a series. In this vein, she will plan ahead
a full year while still in the throes of finishing a current effort. Referring to Mirage, she says, “Right now, it’s florals with this filtered view of
nature. And when I consider what might come next, I still look to nature.”
Her inspiration feasts on the raw quality of a landscape’s potential,
and her work in Nevada takes her into the field to visit with the gifts that
are available to her artful eye. She tends to create based on what is right
in front of her, and this leads her into studies that will serve her larger
work in some way. “Lately I’ve been using oil paper,” she says. “I tape it
to cardboard and take it out. This is plein air painting, but it’s different
than what I’ve done before. I don’t feel like I can do a small little study.
Everything is so big out here.”
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The expanse she refers to is often taken in at Red Rock Canyon in
Nevada, which lies just a few miles west of Las Vegas within the 195,819
acres comprising the Red Rock National Conservation Area. “My initial
approach has always been classically trained plein air painting. It just
makes sense to me to absorb information this way. Maybe my studies of
the rocks will become a larger series like my seascapes, but I need to let
nature speak to me on how I’m going to express myself.”
As an individual who also trains as a runner, she seeks balance by
having nature in her periphery. Like any plein air painter who chases the
passion, she tends to exist in the world at the ready with the equipment
that is required to create. For Jung, nurturing a through-line to the end
result, whether it be considered traditional or contemporary, will always
include the cherished influence of nature.
JENN REIN is a writer based in Northern Colorado.
MICHELLE JUNG nourishes her connection to nature by sketching
regularly on her travels.
ADDITIONAL CONTENT FOR DIGITAL SUBSCRIBERS
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EXPANDED DIGITAL EDITION CONTENT
Davenport Cliffs
2015, oil, 20 x 20 in.
Available from artist
Plein air
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Palm Study — Santa Cruz, CA
2018, ink, 11 x 7 1/2 in.
Collection the artist
Plein air
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Violets at Dawn
2023, oil, 36 x 36 in.
Available from artist
Studio
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Redemption
2023, oil, 48 x 36 in.
Available from artist
Studio
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MORGAN
SAMUEL
PRICE
The people in Morgan Samuel Price’s paintings bring vitality and charm, but
they also create visual opportunities and compositional solutions.
BY STEFANIE LAUFERSWEILER
042
Fishing for Blue Gill
Last Hoo Rah
2023, oil, 8 x 16 in.
2023, oil, 12 x 16 in.
Available from artist
Private collection
Plein air
Plein air
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W
hen Florida artist Morgan Samuel Price decides to
include a figure or multiple people in her paintings of
places, she knows exactly how to handle it. “But,” she
says, “it took a lot of figures to get there.”
Sometimes Price puts people into her scenes to
add to the story. “Every once in a while, the figure’s there because it’s
about the figure,” she says. “Oftentimes, though, I’m using them as props.
It just depends on what situation I’m setting up, and I really don’t know
until I’m standing in front of it exactly what I’m going to do.” When she
does include figures, she says it’s less about chasing a specific moment
than paying attention to what unfolds that could add interest to a scene.
One day while painting on location, she saw a father and son
biking over a bridge and asked if they’d like to be in her painting. After they
agreed to it, she grabbed her camera and asked them to ride back across the
bridge, but what caught her eye was the child getting onto his bicycle faster
than his father. “So that’s what I captured — one still getting on, while the
other was already moving,” Price says. “At that point, they were going into
my scene instead of leaving it, as they were when I first approached them.
They were the special touch that made the scene and gave it a lot more life.”
MOVEMENT MATTERS MOST
Price tries to get to the uniqueness of each figure, to make her portrayals
of them and the entire scene feel authentic. “It’s not about the clothes
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Meetup at Barnie’s, 2021, oil, 16 x 20 in., private collection, plein air and studio
This morning scene took four days of painting on site at the cafe. “The people you see
were all there at different times,” Price says. “Park Avenue [in Winter Park, Florida] is an
enchanting little street.” The bicyclist was the last figure to be added, from a photo taken
the year before. “I like the pattern that his back wheel creates on the ground,” she says.
they’re wearing, it’s how they’re moving in the light. Each person is different — the way they walk, the way they hold their body,” she says. “I
want to catch their particular movement, because it individualizes them.”
The addition of figures in her paintings came at a later point in her
development as an artist, and lots of drawing experience led her to the confidence it takes to include them. “Had I not done who knows how much
gesture drawing in the early part of my career, I wouldn’t understand or be
able to apply it as well,” Price says. She also mentions how gesture drawing has helped her when painting trees, “not only with measurements and
proportions, but with the movement I can create with my brush.”
The artist believes the key to painting figures in the landscape is to
“relax so you can catch the articulation of their movement and get the
proportions right so that their position in the scene looks correct.” If
relaxed and tuned in enough to an individual, “you have an awareness.”
She says, “When you see movement, you make a gesture toward the
movement with your brush.”
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In the Process, 2021, oil, 10 x 12 in., available from artist, plein air
Fishing on the Wekiva, 2023, oil, 12 x 16 in., available from artist, plein air
“This gentleman was either the current or former mayor of the area,” says Price of the
The dazzling light on the palm was what first caught Price’s eye as she painted this
subject of this demonstration piece she painted during Plein Air South. “Among all these
riverside scene for a private student. The fisherman walked into the picture while she
million-dollar houses sat his dilapidated home.” He was thrilled when a friend bought and
was painting. “He was easier to paint than the palm,” Price says, “but the challenge was
gifted him the finished work. “His yard was loaded with junk,” she says, “but how you see
to make sure they were complementary to one another and didn’t take away from each
all that stuff in the light can be beautiful. He was a real character, but what I thought would
other. The man is the star, but that palm tree next to him makes the scene.”
be the best part of the design is actually the shadow, not him at all.”
Under the Pergola
2019, oil, 12 x 16 in.
Private collection
Studio
“Teaching a lot
of workshops, I
have days when
my students are
tired and just want
to watch me paint
in comfort,” Price
says. “This was
painted in studio
from photos I
took at Naples
Botanical Garden
the day before.
I liked painting
the dappled
light around the
figures.” When
adding highlights
on the figures, “you
have to do enough
to get the effect
across,” she adds,
“but not so much
that it becomes
about the figure.”
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The Girls Just Want to Have Fun, 2023, oil, 16 x 20 in., available from
artist, plein air and studio
The artist convinced some of her girlfriends to model for this cafe
scene. She chose where they would sit but didn’t pose them. “I told
them to just have their meal and a good time, and pay no attention to
me,” Price says. The trio in the foreground is another friend with her
grandchildren, an addition made later from photos. “I needed someone
to either walk into or out of the scene,” she says.
The Postman Only Rings Twice, 2014, oil, 12 x 16 in., available from
artist, plein air
Price carefully deliberated the placement of the lone individual in this
scene. “It was purposeful to place him near the edge, because had
I drawn more attention to him, it wouldn’t have given you the same
feeling,” she says. “The painting would’ve become about the figure,
when it was really more about the delivery.”
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Beach Day
2023, oil, 8 x 8 in.
Private collection
Plein air
“I was teaching on the beach in Naples, Florida, and
was about to begin another painting when I spotted
this couple with their son,” Price says. “I grew
up on the beach. The attitude and anticipation
of walking to the beach for a day in the sun is so
different than when the beachgoers are headed
home. That’s why I chose this scene.”
SETTING UP WITHOUT POSING
As a plein air painter, Price is accustomed
to responding to ever-changing conditions, and people are no exception. While
she does use her camera at times to help
capture their appearance and movement,
she does her best to catch them in natural
states of being. Any models she uses are
given minimal instruction.
“I don’t tell them to pose; I just say
to walk and don’t stop, and then I take a
whole bunch of pictures as they do,” Price
says. “I don’t tell them the exact moment
that I’m taking pictures, because they’ll
freeze. The hard thing is getting people
not to pose.”
To save time, the artist does make
economical choices for paintings that
will contain a larger number of people. “Once, I needed about 10 different
figures in a scene, so I asked someone
who was a professional dancer to model
for me,” she says. “I asked her to bring
scarves and hats, and to wear a few
layers of various shirts, to create different looks. She actually modeled for
all the figures.” The dancer’s stamina
made it easier for her to stand, walk, or
stay where Price needed her to for the
painting.
THE POWER OF SUGGESTION
Edge quality can make or break the integration of figures into plein air paintings.
“Keeping their edges soft is the hardest
part,” Price says. “You can’t outline them.
Their edges need to be soft so that they
will set into the scene and fit with the rest
of the painting.”
The Stanton Brothers Pride and Joy
2016, oil, 16 x 20 in.
Collection of National Traveling Exhibition of the
American Society of Marine Artists
Plein air
What attracted Price to this scene at the Forgotten
Coast Plein Air Invitational in Florida were the
patterns of light from the late afternoon sun. “Big
bonus, I could stand in the shade while painting
it!” she says. “As I painted, I met the wife of one
of the new boat owners, who were brothers and
fishermen. It was their first shrimper.”
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DEMONSTRATION:
PUTTING THE FIGURE FIRST
Price asked one of her students to walk down this street in New Mexico while she took photos. “I may use all of them,
part of them, or none of them,” the artist says of her reference shots. “I may even put the top of one with the bottom of
another.”
STEP 1
The artist starts with an initial sketch using
Gamblin’s transparent earth red on a Claessens
linen panel she had stained with a lighter value
of the same color. “I often place the figure early
on, then block in the rest of the scene around
it,” Price says.
STEP 2
“Once the figure is put in motion, I start blocking
in the large areas of the picture with color,” she
says. Price begins to develop the direction of
the light as the larger masses start taking shape,
but “they’ll need to be connected through
value first.”
STEP 3
When the block-in is finished, light is introduced
to begin to explain forms. “Working the painting all over makes it easier to maintain control
of the development,” Price says.
STEP 4
“This stage is where the novice usually jumps
the gun,” says the artist. Patience is required as
forms and light are further developed. “For me,
this is the exciting part,” she says.
Painting Shadows
The shadows people cast warrant as much of an artist’s
attention as the figures themselves, Price says. “The
shadows give you the time of day. Sometimes it’s just a
line coming off the figure, depending on how far away
they are from you.”
FINAL STEP
Among the artist’s finishing touches are the vehicle and the small stones in the road. “The road
needed to look more typical of a small Western town, a little cluttered,” Price says. “There are times
you need to make your scene look lived in, not pristine.”
Along with minding the shadow’s length, angle, and
shape, Price says it’s essential to remember that “a
shadow is on a plane, and it needs to sit on that plane.”
She also routinely reminds her students to “lighten up”
when painting them. “Remember that the shadow is
sitting in light, otherwise it looks like you’ve dug a dark
hole,” says the artist. “You want the value, color, intensity,
and temperature to be right for that shadow.”
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Although Price does have experience painting portraits, the faces
in her plein air works contain little detail. “I suggest facial features, but
they aren’t rendered in any way,” she says. “That wouldn’t go along with
the way that I paint.”
Getting the light on the figures to be consistent with the scene is
also crucial, especially if they were added from photos or seen at different times of day. “That’s what adds to the painting, having them exist in
the same type of condition that you treat everything else in the scene,”
Price says. “That’s what helps the scene feel real.”
Fishing With Dad on The Big Thompson
2016, oil, 12 x 16 in.
Available
Plein air
“The boy was doing his best to keep up with his dad as they waded down the river,
following the trout,” says Price, who painted this scene while teaching a workshop in
Estes Park, Colorado. “I have two sons of my own, and the emotion I felt seeing these two
played into my decision to paint them.”
STEFANIE LAUFERSWEILER is a writer based in Cincinnati, Ohio.
After graduating from Florida’s Ringling School of Art in 1968, MORGAN
SAMUEL PRICE worked as an illustrator for Hallmark Cards and an art
director for an Ohio newspaper before becoming a fine artist and art
instructor. She lives in Altamonte Springs. morgansamuelprice.com
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Painting With John
2022, oil, 8 x 16 in.
Private collection
Plein air
PHOTO: CORY LESCHER
LOREN
EAKINS
Where
Meets
This Colorado biologist and painter uses the observational skills of both fields to paint the
truth in the landscape.
BY BOB BAHR
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G
iven his love of both nature and art, Loren Eakins
figured that scientific and medical narrative illustration was a good fit for him. Ultimately, however,
he discovered that illustration “wasn’t in tune”
with what he wanted to do. He went back to school
and earned a Bachelor of Science degree in biology to go with
his Bachelor of Fine Arts degree in illustration, and embarked
on an unusual career path. Today he works in research stations
and fisheries in accordance with his biology degree, all the while
painting and drawing for himself. Few painters have lived in such
far-flung places. But for Eakins, it’s natural.
“Biology and art use the same lens or outlook on life,” says
the artist. “The observational world is fundamental in both
fields. I thought I would go into medical illustration, but I didn’t
get in the program I wanted, so I took a job with a research station in Ecuador.” His work as a biologist continues to pay bills
and shore up his art sales. He does seasonal work with raptors in
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Grand Junction, Colorado, as well as in the fisheries or as a fisheries observer out of Dutch Harbor, Alaska. “I can make a pretty
good chunk of money working for six months in the Aleutian
Islands, then spend the rest of my time painting,” he says. “It
feels really fulfilling doing the biology work, too, though.”
DEPICTING NATURE
Unsurprisingly, Eakins takes care to understand the natural
elements in the scenes he depicts. He’s done work in scientific illustration, which places a premium on accurate detail
and technical precision. “Doing that, you have to understand
the structure of a flower or how one species of ray differs from
another, for example,” he says.
The BFA program at the Rocky Mountain College of Art
and Design in Denver meant three years of figure drawing. “You
have to know the musculature and anatomy of a human to really
understand and paint the figure,” Eakins says. “Likewise, you
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(ABOVE) Handies Summit
2021, oil, 9 x 12 in.
Private collection
Plein air
(RIGHT) Yampa and Wyethia
2021, oil, 12 x 16 in.
Collection the artist
Plein air
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Seasons End, 2022, watercolor, 10 x 14 in.,
collection the artist, plein air
have to know how a plant grows to
paint it well. A big part of painting
something well is understanding
what you’re looking at. Then you can
use brushstrokes that describe the
structure.”
Those brushstrokes are made in
oil with a variety of brushes, including badger-hair flats, large hogbristle filberts, and synthetic mongoose rounds. Eakins also works
in watercolor; his brushes for that
medium include big mops, hog fans,
and Chinese calligraphy brushes. In
oil, he usually works on panels that
he cuts himself and prepares with a
lead white ground. When applying
the lead white, he emphasizes his
brushstrokes to add a textural element to the surface. This texture
Ribbon Trail, 2021, watercolor, 11 x 15 in.,
collection the artist, plein air
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Skinner’s Place, 2022, watercolor, 9 x 11 in.,
collection the artist, plein air
helps grab the tone of his underpainting,
while adding visual interest.
“I use mineral spirits and one of the
underlying colors of the scene for the
underpainting,” he says. “I try not to put
tone in the sky area. Around here, in the
Rockies, I use iron oxide red. Way up north,
I may use gray or green. In either case, if the
surface is too smooth, the tone will just run
off. This year, I plan on experimenting with
a fine-tooth and a rough-tooth paint roller
to see what that does.”
Eakins calls his color palette “muted”
and says colors “come off and on.” His
color theory is not based on the primaries,
but rather the printing standard called
CMYK, which stands for cyan, magenta,
yellow, and black (although he doesn’t
keep a black on his color palette). Also on
his palette is what he calls his “earth primaries,” consisting of transparent earth
Priest Rock, 2022, oil, 8 x 10 in., collection the artist,
plein air
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DRAWING ON A VARIETY OF MEDIUMS
The painter says that, left to his own devices, he would have found a
way to just draw. “I did a lot of pen-and-ink work when I was younger,”
he says. “I really like to draw and was kind of forced into painting in
art school.” Sculpting also pulled at Eakins’ attention. “I won awards
in ceramic sculpture in high school, but I haven’t sculpted in years,” he
says. “Sculpting actually came more naturally to me, and now I have to
fight the tendency to think that way when painting. When sculpting,
you touch every side of the piece, and get every detail, but I love the soft
edge you can get with paint, when an object disappears into something
else because of the lighting and similar values.”
The artist doesn’t establish a value range early on with touches of
the lightest light and darkest dark to establish the limits. Instead, he
works within the middle of the value range, then pushes things darker
or lighter as the subject matter and light conditions dictate.
For Eakins, watercolor is a sort of bridge between drawing and
oil painting. When he breaks the “rules” of a given medium, it’s usually because the transgression is orthodoxy in a different medium. For
example, his darks are often thicker than his lights, as they usually are
in watercolor technique — the opposite of the traditional approach in
oil, where thick highlights of light color signal the finish of a painting.
And Eakins says he loves painting in watercolor using ivory or bone
black on white watercolor paper, using a squirrel-hair brush — like a
drawing. “It’s a really good way to paint with values and think beyond
color,” he says.
He has the following advice for people interested in his watercolor
approach: “The darks are determined by the viscosity of your paint.
With black paint, in the classical Eastern style, the thickness of the
paint determines the value. Think of the darkest as being like butter or
cream, the middle range running like milk, and the lightest light having
the consistency of thin coffee or tea.”
Pyramid, 2023, oil, 16 x 8 in. , collection the artist, plein air
red, yellow ochre, and Payne’s gray. Phthalo turquoise is his green, and
phthalo rose is his magenta. He has one white on his oil palette — titanium white, which he considers to be cool in temperature and thus perfect for skies, but he tries to minimize its use.
“The instant you touch a color with white, it changes its character,”
Eakins says. “Black can be damaging to the effect you want, and white
is the same way. For some weather conditions, though, white is important. When things are wet, white works well. But if things are dry, I try
not to touch white until the end. I do as much as I can without it first.
Recently I forgot white paint, so I did a painting without it. It was fine.
I did a larger version of the painting and used very little white on that
as well.” Perhaps this choice is influenced by his work with transparent
watercolor, in which the only white is the white of the painting surface.
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PAINTING BEYOND THE OBVIOUS
His subject matter is sometimes sought and chosen by him, and sometimes steered by his biology work. Regardless, Eakins rarely chooses
the obvious vista. “I don’t feel like I’ve really experienced a place unless
I’ve painted it,” he says. “I like painting a variety of ecosystems, and I
want difficult subjects. If I think to myself that I don’t know if I can
paint something — well, that’s the kind of subject matter that attracts
me. I love getting out in weather conditions. I like to paint from high up
on one of the Rockies’ Fourteeners [mountain peaks that reach 14,000
feet — Colorado has 53 of them]. I like to see how the weather works
on the landscape, and the only way to know that is to get out there in it.”
In brief, Eakins likes “hard.” Painting is not easy, if one is doing
it right. It’s an enjoyable challenge, and he’s game. But he doesn’t feel
compelled to paint every blossom on every fuchsia plant. “What I’m
looking at will suggest the degree of finish for the painting,” he says. “I
don’t think including a lot of detail and all the information is the way
for me. When I think of degree of finish, it’s a question of what it feels
like to be there.”
Technical bravado isn’t his goal, even while the hard work of handcrafting a piece of art requires plenty of skill. Eakins says he thinks that
when the artist’s hand is recognizable in a piece, it has more appeal.
“There’s something that comes with knowing somebody made the
object with their hands,” says the artist. “The viewer sees the dexterity,
and the qualities of the pigment. It’s why AI images will never resonate
the same way with people. We know what it’s like to struggle through a
drawing. A good painting is kind of like the Olympics. You see the mastery and the experience — and the struggle that it took to get there.”
BOB BAHR has written about visual art for various books and publications
for 18 years. He lives and works in the Kansas City area.
With his biological fieldwork providing the perfect excuse for adventure,
LOREN EAKINS captures the beauty of the landscape in watercolor and
oil. loreneakins.com
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Untitled landscape study 2 with pink light on Sauvie Island
Aimee Erickson
2019, oil, 4 x 5 in.
Available from artist
Plein air
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SP EC I AL
The
of
S
F E AT U R E
BY KELLY KANE
easonal small work sales provide the perfect opportunity for new collectors
— and savvy buyers looking to share their love of art with others — to pick up
a piece by a first-class artist at a great price. Here, two top plein air painters
share the appeal of these miniature masterpieces and the reasons the sales are
a win-win for all involved.
West Virginia, Golden Falls
Jed Dorsey
2023, acrylic, 8 x 8 in.
Available from artist
Studio
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Miniatures Have
Their Moment
BY AIMEE ERICKSON
I
t was show day, the last day at a big plein air event. The paintings were hung, collectors and event organizers were taking in
the exhibition, and I was hanging around with the other artists
after a busy week. It was social time for us, but the thing is, we
love painting. Half of us had our easels out and were pushing
paint around, nothing serious, just enjoying the day. I keep a stash of
2 x 3-inch panels in my bag for just such occasions.
I shared one with my friend Shelby Keefe. They were too small
for our panel holders, so we held a brush in one hand and the panel in
the other. Almost immediately, she looks at me with something like joy
dawning in her eyes. “I know, right?” I said. Something changes when
you’re using both hands; maybe a new circuit in your brain gets activated. You can hold the panel in whatever position you need to, so your
brushstroke angles are affected by both hands. It’s more like whittling
than standing at an easel.
I don’t recall when I started creating tiny paintings. In my illustration program, we did a lot of thumbnails and small comps, so it’s always
felt like a natural thing to work small. I make little pieces whenever I
feel like it or, as I just described, when I have some extra time on my
hands. Eventually I have too many to keep around. Having a holiday
sale at the end of the year is a great way to keep things moving. It’s a
win-win. I get to clear overcrowded walls and shelves, and people love
these little paintings.
WHAT WORK QUALIFIES?
I think anywhere between 20 and 100 miniatures is a good range for
a sale. So what qualifies as a miniature? I figure 6 x 8s and 8 x 10s are
small, a 4 x 6-inch is miniature, and 2 x 3s and 3 x 5s are tiny. I don’t
do microscopic; that’s when you paint on grains of rice. When it comes
down to it, the real distinction for me is that it should be small enough
for the artist to hold in their hand while they paint. Of course, that will
vary depending on the size of their hands. For reference, I can easily
play a 10th on the piano and comfortably hold a 6-inch panel in one
hand; I cannot palm a basketball.
I price the works under $1,000, usually in the $300–$700 range,
plus shipping, which appeals to people who don’t usually buy originals
but are excited by beautiful little paintings.
SALE SPECIFICS
I run my miniature sales online. Rather than maintaining a store all the
time, I have a set length of time when the sale is live, usually between
one and four days. That way I can prep, sell, ship, and be done until the
next one. Here’s a look at my process.
•
To start, I announce the dates of the sale on my website.
•
Then I do an inventory check. I get all my small works out and
see what I have. I sort them by which ones are ready to go and
which ones need a little more time and attention.
PROS AND CONS OF WORKING SMALL
Pros
• I can do so much with a single loaded brush.
• Small paintings = small problems. Miniatures provide an easy
in (to start painting), make it easy to make changes, and don’t
involve too much paint, plus cleanup is fast.
• They look great. I like looking at small works while I’m painting
and afterward when I stick them to the fridge with magnets. I
suspect the fact that the whole painting fits in my macular vision
has an effect on my perception.
• They don’t take up a lot of room in the studio.
• I can play around with compositional ideas in unusual formats
(3 x 7 inches is a lovely proportion, for example).
• They just make me happy.
Cons
• I love them and want to keep them all.
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•
•
•
•
•
From there, I spend several happy afternoons painting until it’s time to wrap up and
get the pieces online.
At that point, I take photos of the works —
one showing just the painting and one with
the piece in situ with a pencil or other object
for scale. I take care to edit the photos so
that the colors are accurate and the images
are cropped and sized correctly.
I then upload the images and input the database information (title, medium, size, date,
price, as well as any notes I might want to
share about the piece).
To give people time to look around and
think about a purchase, I provide a preview
period before the sale goes live.
To aid with the promotion, I announce
the sale in my newsletter and on my social
media channels (Facebook and Instagram).
(TOP) Untitled landscape study of sunset’s last light on Vermilion
Cliffs, 2022, oil, 6 x 8 in., available from artist, plein air
(RIGHT) Untitled landscape study with peach-colored light on
Sauvie Island, 2019, oil, 4 x 5 in., available from artist, plein air
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Memories of Place
BY JED DORSEY
T
ypically I only release paintings
for sale in collections or at specific times of the year. Around
the holiday season, I prefer to
sell mostly small works because
they’re an easier purchase. Small paintings
are less expensive, and also less commitment. A large painting usually requires a bit
more thought. For one thing, where will it
go? And because art is so personal, when
giving a small painting as a gift, it’s easier to
feel good about making an educated guess
about what the other person will love.
I consider any painting 12 x 12 inches
or less to fit into the small work category,
although most of the pieces I market are
smaller than that, typically 6 x 6 or 8 x 8
inches. I’ve sold small paintings for $99 to
$500, depending on the size, if it’s framed,
and the type of frame used.
CONNECTING WITH COLLECTORS
Those who buy paintings in these small
works sales are a mix of previous and new
collectors. They’re a great starting purchase
for people, so I’m always looking to engage
with potential customers through social
media. The key is to have a plan.
One thing to remember about social
media is that it is primarily about giving. A
lot of the time we just think of it as a way
to announce what we’re doing, but the
best social media influencers share, meaning they give. They genuinely try to help
others. So as artists, we share our work, our thoughts, our process;
we ask questions, and we think about others — those who know less
than we do and want to grow their knowledge
of art.
I learned this rule of thumb recently: Only
15 to 20 percent of the time you spend on social
media should be in the service of promoting
something. And even during those times of
promotion, you need to be sharing and giving
information.
As great as social media is, however, we
know the algorithms change and we don’t have
control over how many people will see a post.
One of the most important things I’ve learned
to do as a professional artist is to collect e-mail
addresses. Contacting my e-mail list is a much
easier and more reliable way to spread the word
about a sale than a social media post.
I’ve found that anything painted with love
will sell, but when I think back to the work that
has sold best for me, most often it’s pieces based
on specific locations, like the 50 small paintings
of the states I just completed for my Painting
Across America Challenge. People just naturally
seem to be drawn to paintings that remind them
of places they love.
(TOP) Washington, 2023, acrylic, 8 x 8 in., available
from artist, studio
(LEFT) South Carolina, Hilton Head Moment, 2023,
acrylic, 8 x 8 in., vaailable from artist , studio
Jed Dorsey
jeddorseyart.com
WHY BUY ART AS GIFTS
1. Art is the gift that keeps on giving, and the ripple effects are felt
by many.
2. You’re supporting a local artist.
3. Your gift will be treasured for years.
4. It will be seen by numerous others.
5. The art carries a story with it — where it was seen, who created it,
and why the subject is special.
6. It serves as a reminder of your love.
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Nevada, Black Rock Desert
2023, acrylic, 8 x 8 in.
Available from artist
Studio
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EXPANDED DIGITAL EDITION CONTENT
(CLOCKWISE FROM TOP) Untitled landscape study of late afternoon
glare in the sky at Vermilion Cliffs, Aimee Erickson, 2022, oil, 4 x 8 in.,
available from artist, plein air •
Untitled study of Shark Harbor on
Catalina Island, Aimee Erickson, 2019, oil, 4 1/2 x 6 in., available from
artist, plein air •
Aimee Erickson emerging from the Pacific Ocean
with her plein air gear
(OPPOSITE PAGE, CLOCKWISE FROM TOP) Untitled
landscape study in gold on Sauvie Island, Aimee
Erickson, 2019, oil, 4 x 5 in., available from artist,
plein air • Untitled landscape study with pink light
on Sauvie Island, Aimee Erickson, 2019, oil,
4 x 5 in., available from artist, plein air •
Erickson
painting in the back of a friend’s pickup truck
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EXPANDED DIGITAL EDITION CONTENT
North Carolina, Far Mountain Blues
Jed Dorsey
2023, acrylic, 8 x 8 in.
Available from artist
Studio
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Jed Dorsey painting in Colorado at the 2023 Plein Air
Convention & Expo
Alabama, Gloriously Common
Jed Dorsey
2023, acrylic, 8 x 8 in.
Available from artist
Studio
Oklahoma, Blue Thunder
Jed Dorsey
2023, acrylic, 8 x 8 in.
Available from artist
Studio
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MIX UP
YOUR
PRIMARIES
This watercolor artist identified one mistake his students were
making over and over again — using the wrong colors when
mixing grays. He says the solution comes down to selecting the
right primaries for the job.
BY VLADISLAV YELISEYEV
uring my years of teaching watercolor, I had an epiphany: my students lacked a critical understanding of
how to use color effectively in their paintings. The
problem wasn’t with bold, vibrant, and intense color,
which they tended to find relatively straightforward
to employ. The issue came with mixing shades of gray.
The most common mistakes I observed revolved around selecting the
right colors to add to the mixes and determining their intensity.
Because I’ve been painting with watercolors for so long, I intuitively
know how to mix a range of transparent grays, so to help my
students, I had to go back to the basics. Drawing on common
scientific knowledge, I turned to the primaries to identify simple color recipes for mixing grays. But when I attempted to mix
pure colors in my studio, all I got was a muddy mess. While I
don’t mind a little “mud” in my paintings, I couldn’t achieve the
beautiful, transparent grays I sought.
To do so, I needed to take into account the values or tones
of the objects I was painting. For example, any brightly lit object
can be broken down into three integral parts in terms of brightness: the lit area, mid-tone, and cast shadow, with the last being
the darkest. I asked myself what would happen if I designated a
new set of primary colors for each of these areas on my palette.
Originally from Russia, VLADISLAV YELISEYEV brought his classical
art education and a master’s degree in architecture to the United
States when he immigrated in the 1980s. yeliseyevfineart.com
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P a r i s C a f é , 2 0 2 0,
Wa t e r c o l o r, 1 4 x 2 1 i n .
Private collection
Plein air
A rich tapestry of grays makes
up 90 percent of this piece.
The interplay of warm and
cool temperatures, often
in close proximity, imparts
depth and visual harmony. The
vivid red awning, juxtaposed
with the vibrant blue glass,
radiates brilliance amidst this
intricate sea of grays, forming a
captivating focal point within the
composition.
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DEMONSTR ATION: CRE AT ING NEW SE T S OF PRIM ARIES
LIT AREAS
Instead of pure cadmium yellow for the lit areas, I used
yellow ochre; instead of cadmium red, I opted for alizarin
crimson; and in place of cerulean blue, I chose cobalt blue.
Yellow ochre inherently contains
some red compared to cadmium
yellow, alizarin crimson contains
blue compared to cadmium red,
and cobalt blue has some red
when compared to pure cerulean blue, which helped them to
blend together seamlessly.
cadmium
cadmium
cerulean
yellow
red
blue
yellow
alizarin
cobalt
ochre
crimson
blue
( R I G H T ) M i x i n g n e w c o m b i n a t i o n s o f t h e s e c o l o r s , I a c h i e v e d t h e r e s u l t s I w a n t e d . W h a t ’s e v e n m o r e s i g n i f i c a n t t o
m e , h o w e v e r, i s t h a t I c o u l d e a s i l y a d j u s t t h e c o l o r t e m p e r a t u r e b y v a r y i n g t h e a m o u n t s o f e a c h o n t h e f l y, w i t h o u t
t h e n e e d f o r a n y a d d i t i o n a l c o l o r s . C o n s i d e r i n g t h e c o u n t l e s s s h a d e s a n d t e m p e r a t u r e s o f g r ay t h a t s u r r o u n d u s —
s o m e w a r m e r, s o m e c o o l e r, s o m e l i g h t e r, a n d s o m e d a r ke r — t h e s e t h r e e c o l o r s p r o v e d v e r s a t i l e e n o u g h t o d e l i v e r
w h a t I n e e d e d f o r t h e l i t a r e a s o f m y s c e n e w i t h t h e r i g h t p r o p o r t i o n s o f p a i n t a n d w a t e r.
STEP 1
THE RIGHT TIME FOR RED
It’s important to remember that red can play the role of a buffer
between yellow and blue. As I mixed my new sets of primaries, I
had to determine the right time to introduce red to my mix. If I
mixed yellow ochre and cobalt blue directly, for example, I would
get a green color, which isn’t always desirable. Instead, before
adding blue to yellow, I introduced a bit of red, making the green
less noticeable. Of course, when I want greens for tree foliage —
and don’t want to rely on factory-made green paints — I do combine yellows and blues directly without the use of red to achieve
the exact shade I desire.
MID-TONE AREAS
To successfully mix mid-tones, I used burnt sienna for yellow, a mixture of alizarin crimson and
dioxazine violet for red, and ultramarine for blue. (Note: It’s important to take my color names
with a grain of salt because each manufacturer interprets colors differently. You may need to do
some experimentation of your own.)
alizarin crimson
ultramarine
and dioxazine
blue
violet
STEP 2
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burnt sienna
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DARK AREAS
When I ventured even further into the darker values, I turned to sepia, dioxazine violet, and
indigo. A crucial aspect I had to consider was the amount of water I used, as that affected the
lightness of the mixes; of course, the more water I used, the lighter the end result would be. And
yet it was important to ensure that I used similar water proportions for each of the colors I combined in order to simplify the mixing process. Controlling the temperature became a matter of
adjusting the amount of paint in the mixes instead.
sepia
dioxazine
indigo
violet
FINAL STEP
“So do we really require just nine
colors to encompass the entire
spectrum of painting?” you may
be asking yourself. The response
is a resounding “no.” Indeed, many
objects in our surroundings exhibit
pure, unadulterated colors, like red
shorts or blue bicycles, for example.
So it’s imperative to have intense
colors at our disposal along with
all these primaries. By doing so, we
can juxtapose vibrant colors with
various shades of gray to accentuate their brilliance even further.
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C o r t e z D r y D o c k , 2 0 2 0, w a t e r c o l o r, 1 0 x 1 5 i n . , a v a i l a b l e f r o m a r t i s t , p l e i n a i r
H o w d o e s a w a t e r c o l o r a r t i s t a c h i e v e t h e c o l o r w h i t e?
For me, the secret lies in a carefully composed palette of
l i g h t- t o n e d p r i m a r i e s , b l e n d e d t o c r a f t n u a n c e d m i d t o n e s a n d i n t r i c a t e c a s t s h a d o w s . To b r i n g t h e w h i t e
t o l i f e , a l l t h a t r e m a i n s i s t o i n f u s e a t o u c h o f c o l o r.
Here, I juxtaposed the boats against a lush, dark green
backdrop and concluded the piece with a flourish of
calligraphic lines. Note that the green background
itself is a mixture of primaries that let me introduce
many more colors to it.
La u n d r y D ay, 2 0 1 6 , w a t e r c o l o r, 1 1 x 1 5 i n . , p r i v a t e
collection, plein air
To c a p t u r e t h e r i c h n e s s o f t h e t i l e c o l o r s a d o r n i n g t h i s
ancient structure, I used an intense shade of orange,
mixed directly on the paper from a blend of cadmium
y e l l o w, c a d m i u m r e d , a l i z a r i n c r i m s o n , a n d a t o u c h
of cobalt blue. The composition as a whole exudes a
warmth, balanced by the presence of a cool line of
l a u n d r y h a n g i n g o n t h e w i r e a n d a d i s t a n t , m i s tshrouded mountain range ser ving as the backdrop.
The depth and nuance of hues created solely from a
limited palette of primary colors is designed to draw
t h e v i e w e r ’s a t t e n t i o n .
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Doors
2 0 2 0, w a t e r c o l o r, 1 5 x 1 1 i n .
Av a i l a b l e f r o m a r t i s t
Plein air
Three distinct areas of tonal values — illuminated zones, mid-tones, and
cast shadows — contribute to the creation of a powerful sense of light in
this piece. Within the well-lit regions, I blended my primaries with var ying
degrees of temperature, eschewing additional colors. In the closest
illuminated area, the mix prominently features the warm embrace of
yellow ochre, while the green zone purposefully omits any traces of red,
a l l o w i n g f o r a c l e a n , d e l i c a t e p r e s e n t a t i o n . Fa r t h e r i n t o t h e c o m p o s i t i o n ,
t h e c o o l e r c o b a l t b l u e b u i l d i n g t a ke s c e n t e r s t a g e . T h i s s t r a t e g i c u s e o f
primaries not only accentuates the light but also enhances the overall
visual impact of the piece.
S t ro n c o n e S t a i r w ay
2 0 1 8 , w a t e r c o l o r, 2 2 x 1 5 i n .
Av a i l a b l e f r o m a r t i s t
Plein air
H e r e , t h e s t a i r c a s e l e a d s t h e v i e w e r ’s g a z e t o w a r d t h e p r i s t i n e w h i t e w a l l ,
w h i c h I e s t a b l i s h e d a s t h e f o c a l p o i n t b y p o s i t i o n i n g d a r ke r e l e m e n t s
around it. Within those darks, the potent warmth of burnt sienna is
subdued by the addition of alizarin crimson, and blended harmoniously
with the depth of dioxazine purple. A touch of warm teal lends a blue hue.
T h e i n c l u s i o n o f a c o o l I t a l i a n s k y, m i x e d f r o m p r i m a r y c o l o r s , b a l a n c e s
t h e o v e r a l l w a r m m i d - t o n e s , s e r v i n g t o m i t i g a t e t h e b l u e’s i n t e n s i t y a n d
e n s u r i n g i t d o e s n’ t d o m i n a t e t h e c o m p o s i t i o n a s a f o c a l p o i n t . A d d i n g t o
the composition's depth, the light gray foreground extends beyond the
picture frame at the bottom, creating a sense of continuity that draws the
viewer deeper into the visual narrative.
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PleinAir
JUDGE ALBERT HANDELL GIVES HIGH MARKS TO THESE PAINTINGS FROM THE AUGUST COMPETITION.
A U G U S T
FIRST PLACE: Early Morning Quiet (watercolor, 22 1/2 x 15 in.) by Angus McEwan
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SECOND PLACE: Mercury (watercolor, 14 x 11 in.) by Radhika Srinivas
THIRD PLACE: Serenity (oil, 12 x 16 in.) by Sheryl Knight
PEOPLE'S CHOICE AWARD: Shanksville Farm at Sunset (acrylic, 16 x 16 in.)
by Tana Dinning
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A U G U S T
“ B E S T
O F ”
C A T E G O R Y
BUILDING: The Weeping Arch (oil, 12 x 16 in.)
by Rhonda Ford
A W A R D S
ANIMAL & BIRD: Kite Flight (oil, 20 x 24 in.)
by Michelle Held
FIGURE & PORTRAIT: The Yellow Cape (oil, 22 x 22 in.)
by Carmen Drake
FLORAL: Delphinium, Roses and Limes (watercolor,
14 x 20 in.) by Karen Mai
LANDSCAPE: Autumn Aspens (oil, 36 x 24 in.)
by Jane Hunt
CLOUDS & SKY: Last Call (oil, 30 x 30 in.)
by Paula Holtzclaw
DRAWING: Sweet Moment (colored pencil,
16 1/2 x 21 1/3 in.) by Paco Martín
ARTIST OVER 65: The Bubble (acrylic, 7 x 12 in.)
by Cher Pruys
NOCTURNE: Abalone (acrylic, 16 x 20 in.)
BEGINNER: The Santa Fe Aspen (pastel and
by Megan Whitfield
watercolor, 17 x 11 in.) by Alison Hightower Suttle
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WATER: Reverberations (watercolor, 28 x 38 in.)
PLEIN AIR OIL: Hazy Day in Pacific Grove (oil,
by Poppy Balser
9 x 12 in.) by Carole Belliveau
VEHICLE: Flying Colors (oil, 24 x 30 in.) by Beth Bathe
PLEIN AIR STILL LIFE: Empty Nest (watercolor,
PLEIN AIR PASTEL: Maymont Italian Garden (pastel,
14 1/2 x 20 in.) by Deborah Chabrian
12 x 16 in.) by Shavon Peacock
WESTERN: Dancer (oil, 30 x 24 in.) by Lon Brauer
PLEIN AIR ACRYLIC: River View (acrylic, 12 x 18 in.)
by Biruta Hansen
PLEIN AIR LANDSCAPE: Sonoma Farm Vista (oil,
9 x 12 in.) by Camille Przewodek
PLEIN AIR WATERCOLOR & GOUACHE: Conversation
(gouache, 10 x 8 in.) by Bernard Dellario
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The 13th annual PleinAir Salon consists of 12
monthly contests from April 2023 to March
2024. The awards will be presented in May
2024 at the Plein Air Convention & Expo in
the Great Smoky Mountains.
Winners of each monthly contest are
automatically entered into the annual competition. First prize in the annual Salon is
$15,000 cash and the publication of the
winning image on the cover of PleinAir
Magazine, along with a feature story. Second Place earns an artist $3,000 and an
article in the digital edition of PleinAir
Magazine. Third Place yields $2,000 in
cash, with three Honorable Mentions taking
home $700 each and a People’s Choice
Award garnering $500. Four Best Medium
Awards for acrylic, oil, pastel, and watercolor are worth $400 each.
Artists also earn cash for prizes in the
monthly contests. First Place winners
receive $600, with $300 going to Second
Place, $200 to Third Place, and $100 to the
People’s Choice. Category award winners
get $50 each. Paintings do not need to have
been completed in plein air but should originate from a plein air study or experience.
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AUGUST HONORABLE MENTIONS
EXPANDED DIGITAL EDITION CONTENT
ANIMALS & BIRDS: Fred (oil, 14 x 11 in.)
by Paula Holtzclaw
CLOUDS & SKY: Ablaze (oil, 20 x 16 in.) by Jane Hunt
DRAWING: Linear (charcoal, 30 x 18 in.) by Lon Brauer
NOCTURNE: Sanctuary (oil, 20 x 16 in.) by Jane Hunt
LANDSCAPE: Winter Barn (oil, 12 x 16 in.)
by Michael Lewis
FLORAL: Magenta Blooms (oil, 16 x 8 in.)
by Kristina Sellers
FIGURE & PORTRAIT: Contemplation (oil, 10 x 8 in.)
by Kai Lunn Qu
BEGINNER: Rainy Day in Southport (oil, 8 x 10 in.)
by Barbara Reed
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ARTIST OVER 65: Well Stocked Shelves (oil,
30 x 40 in.) by Angela Trotta Thomas
VEHICLE: Soon Underway (oil, 11 x 14 in.)
WESTERN: Rocky Mountain Horse Ranch (oil,
by Mike Bagdonas
22 x 28 in.) by Mike Bagdonas
BUILDING: Life Out There? (oil, 24 x 30 in.)
PLEIN AIR LANDSCAPE: Spring River Run (oil,
PLEIN AIR PASTEL: Hazy Summer (pastel, 11 x 14 in.)
by Natasha Isenhour
11 x 14 in.) by Carole Belliveau
by Christopher Copeland
PLEIN AIR ACRYLIC: Schoodic Point (acrylic, 8 x 8 in.)
by Matthew Cutter
WATER: Sculpted by Nature I (acrylic, 8 x 10 in.)
PLEIN AIR STILL LIFE: Better Days (oil, 12 x 12 in.)
by Matthew Cutter
by Sandra Desrosiers
PLEIN AIR WATERCOLOR & GOUACHE: The Sheep
PLEIN AIR OIL: Lillies and Lavender (oil, 8 x 16 in.)
Pasture (watercolor, 14 x 18 in.) by Robin Roberts
by Sam Paonessa
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PleinAir
JUDGE WILLIAM A. (BILL) SUYS, JR. NAMES HIS TOP PICKS FROM
THE SEPTEMBER COMPETITION.
S E P T E M B E R
FIRST PLACE: How Many Beaver? (oil, 12 x 9 in.) by John Buxton
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SECOND PLACE: Rusty Enamel and Violets (oil, 24 x 36 in.) by Carmen Drake
THIRD PLACE: Creek (watercolor, 30 x 22 in.) by Rukiye Garip
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PEOPLE’S CHOICE AWARD: Mortdì (acrylic, 80 x 60 in.) by Paco Savino
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S E P T E M B E R
“ B E S T
O F ”
C A T E G O R Y
A W A R D S
CLOUDS & SKY: For Miles and Miles (oil, 18 x 28 in.)
LANDSCAPE: St. Joe River Near Tumbledown Creek
by Paula Holtzclaw
(watercolor, 14 1/2 x 20 in.) by Jessica Bryant
BEGINNER: Squirrels Playground (oil, 20 x 16 in.)
by Sami Ali
FIGURE & PORTRAIT: Individuality (watercolor,
20 x 28 in.) by Lana Privitera
ARTIST OVER 65: September Tree (oil, 14 x 16 in.)
by James Rosanio
NOCTURNE: Before Nightfall (oil, 12 x 24 in.)
by Leonard Mizerek
ANIMAL & BIRD: Porky, a Dude’s Best Friend (oil,
9 x 12 in.) by Elizabeth Lewis Scott
BUILDING: Wilson’s (gouache, 9 x 12 in.) by Bob Upton
FLORAL: Sam’s Sunflowers (oil, 24 x 30 in.)
by Cathryne Trachok
VEHICLE: Restless & Ready (oil, 12 x 24 in.)
by Kirk Larsen
DRAWING: Twilight Snow (pen and ink, 18 x 26 in.)
by Shuocong Xiao
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PLEIN AIR ACRYLIC: Sycamores, Casper’s (acrylic,
15 x 30 in.) by Rick J. Delanty
WATER: Ripples of Raindrops (watercolor, 26 x 22 in.)
by Rukiye Garip
WESTERN: Of a Strong Fiber (oil, 12 x 9 in.)
by John Buxton
PLEIN AIR STILL LIFE: Duo Duo (pastel, 14 x 20 in.)
by TaiMeng Lim
PLEIN AIR OIL: Way Back Home (oil, 12 x 16 in.)
PLEIN AIR LANDSCAPE: 5th & E (oil, 6 x 9 in.)
by Haidee-Jo Summers
by Camille Przewodek
PLEIN AIR WATERCOLOR & GOUACHE: Ready to Board
(gouache, 8 x 10 in.) by Bob Upton
PLEIN AIR PASTEL: Summer Sizzle (pastel, 12 x 9 in.)
by Jill Stefani Wagner
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The 13th annual PleinAir Salon consists of 12 monthly contests from April 2023 to March 2024.
The awards will be presented in May 2024 at the Plein Air Convention & Expo in the Great
Smoky Mountains.
Winners of each monthly contest are automatically entered into the annual competition.
First prize in the annual Salon is $15,000 cash and the publication of the winning image on the
cover of PleinAir Magazine, along with a feature story. Second Place earns an artist $3,000
and an article in the digital edition of PleinAir Magazine. Third Place yields $2,000 in cash,
with three Honorable Mentions taking home $700 each and a People’s Choice Award garnering
$500. Four Best Medium Awards for acrylic, oil, pastel, and watercolor are worth $400 each.
Artists also earn cash for prizes in the monthly contests. First Place winners receive $600,
with $300 going to Second Place, $200 to Third Place, and $100 to the People’s Choice.
Category award winners get $50 each. Paintings do not need to have been completed in
plein air but should originate from a plein air study or experience.
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SEPTEMBER HONORABLE MENTIONS
EXPANDED DIGITAL EDITION CONTENT
ANIMALS & BIRDS: Mr. Shenanigans and Last Year’s
Dandelions (oil, 9 x 14 in.) by Carmen Drake
LANDSCAPE: Moon Over the Marsh (oil, 36 x 36 in.)
BUILDING: Piazza Navona (oil, 10 x 10 in.)
by Mary Garrish
by Bernard Dellario
BEGINNER: Abandoned but Not Alone (acrylic,
8 x 10 in.) by Douglas Greenman
CLOUDS & SKY: Firelight (oil, 16 x 20 in.)
by Paula Holtzclaw
NOCTURNE: Night Market (watercolor, 14 x 10 in.)
by Orville Giguiento
FIGURE & PORTRAIT: In Full Bloom (watercolor,
16 x 24 in.) by Daniela Werneck
FLORAL: For They Shall Inherit the Earth (oil,
18 x 24 in.) by Cathryne Trachok
ARTIST OVER 65: Ribbons (charcoal, 40 x 30 in.)
by Abraham Rucker
PASTEL: Golden Pond (pastel, 8 x 16 in.)
by Jane Wright Wolf
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WATER: A Rhythm of Water (oil, 32 x 40 in.)
PLEIN AIR ACRYLIC: Walk in Gubbio (acrylic, 8 x 10 in.)
PLEIN AIR STILL LIFE: Orchids With Pears (oil,
by John Buxton
by Bernard Dellario
16 x 20 in.) by Paula Holtzclaw
PLEIN AIR WATERCOLOR & GOUACHE: Early Morning,
PLEIN AIR OIL: Cafe Noir (oil, 9 x 12 in.)
Shinbone Alley (watercolor, 11 x 15 in.)
by Leonard Mizerek
by William Rogers
PLEIN AIR LANDSCAPE: White Roses (oil, 14 x 11 in.)
by Camille Przewodek
VEHICLE: 26 Bentley at Parrsboro (watercolor,
11 x 15 in.) by William Rogers
WESTERN: Ready When You Are (pencil, 9 1/2 x 13 in.)
by Elizabeth Lewis Scott
DRAWING: Lost in Time’s Embrace (pencil,
16 3/5 x 13 3/5 in.) by Milno Atelier
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LPAPA CELEBRATES 25 YEARS
The Laguna Plein Air Painters Association (LPAPA) invited 34 plein air artists
to take part in its silver anniversary celebration this fall. The weeklong event
kicked off with a paint-out to welcome the 2023 invitational artists, with
over 70 painters setting up at Laguna’s Main Beach and Heisler Parks to
celebrate the role plein air painting has played in the art colony’s heritage.
The festivities also included a Quick Draw competition; nocturne event;
paint-outs with local elementary and high school students and students
from the Laguna College of Art + Design; Plein Talks — Live with artists and
experts, and a Gala Art Show and Sale to cap it all off.
Judges included founding members Saim Caglayan, Jacobus Baas,
and Cynthia Britain, plus Paulette Auster (for Ken Auster, who passed
in 2016) and LPAPA president Toni Kellenberg (who stepped in for John
Cosby). Together they awarded over $55,000 in cash and prizes, with the
$10,000 Best in Show going to Laguna Beach artist Michael Obermeyer
for Laguna Light. Having previously been recognized with a Lifetime
Achievement Award, Obermeyer was also honored for being the only artist
invited to participate in the annual event all 25 years.
The Award of Excellence went to Zufar Bikbov for Precious Time, Jean
Stern Distinctive Merit Award to Mark Fehlman for Lunar Laguna, PleinAir
Magazine Award to Ryan Jensen for Perfect Day, Fine Art Connoisseur
Award to Lisa Mozzini-McDill for Mission Waterlilies, Laguna Art Museum
Award to Suzie Baker for There Is No Frigate Like a Book, American Art
Collector Award to Aaron Schuerr for Diver’s Cove Panorama, The RitzCarlton "Artist in Residence" Award to Schuerr for The Rhythm of Light,
Southwest Art Magazine Quick Draw Award to Baker for US Open Lawn
Bowling, Laguna, and the Moulton Museum Award to Michael Situ for
Heisler Park Sunset.
The Irvine Museum Award went to Debra Huse for Evening Glow, the
Hilbert Museum of California Art Award to Geoff Allen for Heart of Laguna,
Van Cleave Foundation Artistic Palette Award to Richie Vios for Early
Drive, Lyn Burke Memorial Fund to Richard Boyer for Rainy Day in Laguna,
Director’s Choice Award to Jason Li for Misty Morning, The Revelite Award
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(ABOVE) Best in Show went to Michael Obermeyer for Laguna Light (oil, 9 x 12 in.).
Photo by Tom Lamb • (BELOW LEFT) LPAPA vice president Celeste Gilles and
president Toni Kellenberg present Obermeyer with his award. • (BELOW RIGHT)
LPAPA acknowledged its five founding members: John Cosby, Cynthia Britain,
Paulette Auster (for Ken Auster), Saim Caglayan, and Jacobus Baas.
to Cindy Baron for Gardens of Mission, Artists’ Choice Award to Bikbov, and
Collector’s Choice Award to Rick J. Delanty. Kinsman Family Foundation
Awards were presented to Schuerr for Crystal Cove Panorama, Boyer for
Rainy Day in Laguna, and Anthony Salvo for Crystal Cove Shadows.
First Place in the Plein Air Project Next Generation Awards went
to Taryn Chong for Beach People, Second Place to Ava Xiaosy Chen
for Creamy Colors, Third Place to Michael Hahka for Violet Blue, and
Honorable Mention to Alejandro Velazquez for Playa Color Turquesa.
LPAPA Signature artist Ray Roberts was recognized with the 2023
Lifetime Achievement Award for his body of work and the contributions he
has made to the art community and LPAPA. Elizabeth Pearson and Rosemary
Swim, longtime friends and supporters of LPAPA, were acknowledged for
their support and commitment to the arts with 2023 Lifetime Member Awards.
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MIDWEST CHARMS
to Renee St. Leger for Sunlit Waters; Beauty of Watermedia to Julia Jaakola
for Love; Beauty of Oil to Kelly Schamberger for Destination Unknown;
Beauty of Pastel to Lisa Stauffer for A Silvery Day; Best Historic Site to
Mark Daehlin for Echoes in Time; and Artists’ Choice for Best Body of Work
to Wheeler. Honorable mentions went to Logan Hudson for Menogyn, Dan
Mackerman for 90 Minutes, Christine Tierney for Java Moose, Bob Upton
for Ready to Board, and Stephen Wysocki for Lake Superior Trail Giant.
And for their work at the Quick Paint, Turner won Grand Prize, and
Becker, Mendlik, and Wheeler, POEMs.
2023 Award Winners
Fall color and light were on spectacular display at Plein Air Grand Marais.
Over 100 painters from across the United States kept busy with daily
workshops, artist socials, paint-outs, and a fun-filled hootenanny. Artists
of all skill levels participated, drawing inspiration from a range of painting
locations and subject matter in Cook County — from the Boundary Waters
Canoe Area Wilderness to the Superior Hiking Trail, Lake Superior, historic
sites managed by the Cook County Historical Society, and scenes from
downtown Grand Marais.
In the Open Class category, Best in Show went to Michael Zirbes for
Good Night; three top awards for Paintings of Exceptional Merit (POEMs)
to Kim Jore, Jean Larson, and Kat Nottingham; and three Honorable
Mentions to Charlene Ridlon, Jasmin Strevel, and Susan Seaborn.
In the Competition Class category, Grand Prize for Best Body of Work
went to Brock Larson; six top POEM awards to David R. Becker for Morning
Customs Check, David Pettibone for Night View From Downtown, Carl
Bretzke for Being Bob, Kami Mendlik for Wild North Shore, James Turner
for Heading Out, and Kathie Wheeler for Raven’s Call; Best Sense of Place
Beauty of Oil winner Destination Unknown by
Kelly Schamberger
HISTORY CAPTURED, ONE STROKE AT A TIME
David Gary captures a street scene in Beauregard Town. • (ABOVE LEFT) Gary’s One Way sold during the wet paint sale.
• (ABOVE RIGHT) Nanci Charpentier painted Two Red Doors during the event.
Baton Rouge Plein Air (BRPA) joined Beauregard Gallery and Bistro, the first restaurant in the city to install fine art
exhibitions by prominent artists, to host a two-day plein air event focused on historic Beauregard Town. Twentytwo artists from across southern Louisiana participated in the event, “Painting History: One Stroke at a Time.”
Organized in 2017, BRPA meets every Thursday morning throughout Baton Rouge and the surrounding area
for members to paint together and share critiques.
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UNDER THE TEXAS STARS
October marked the 10th anniversary of EnPleinAirTEXAS, the major
fundraiser for the San Angelo Museum of Fine Arts. Invited artists spent the
first three days of the event painting on ranches across West Texas. The
work inspired by the experience became the core of the week’s competition
paintings, with many pieces selling before they ever got to San Angelo.
From there, the artists spent three more days painting around town,
along the Concho River, and at the international waterlily gardens. A
highlight of the event saw special-ticket holders joining the artists on a
private ranch near San Angelo for the “Door Key Ranch Experience," where
ranch vehicles took them to wherever the painters were working. Afterward,
they enjoyed a private exhibit and sale with barbecue.
After turning in almost 400 paintings from the week, EnPleinAirTEXAS
artists visited all 33 San Angelo public schools, setting up their gear for
short demos and introducing over 1,300 potential next-generation artists
to plein air. At Friday’s Stampede Awards Exhibit & Sale, Richard Sneary
was recognized for being the only artist to be juried into the event all 10
years, each time by a different juror.
Over the course of the past decade, co-chairs Barbara Rallo and
Treva Boyd, along with a cadre of more than 100 volunteers, have
shared their West Texas hospitality with artists from 36 states and four
countries. The resulting sales of the artwork created at the event have
enabled over 80,000 area students to enjoy the San Angelo Museum of
Fine Arts children’s educational programming for free. Now, Rallo and
Boyd are passing the reins to the San Angelo Museum of Fine Arts, who
will take over management of the event going forward.
(CLOCKWISE FROM TOP LEFT) Vlad Duchev won the Elta Joyce Murphey Grand
Prize for Previous Water (oil and acrylic, 24 x 24 in.). • Duchev poses with Awards
Judge Michael Grauer and sponsors Elta Joyce McAfee and Lisa Steger, and Gina
Ward, representing PleinAir Magazine. Photos by Bruce Partain • Lon Brauer and
others paint at the International Waterlily Gardens. • Shelby Keefe captures the
scenery at the “Door Key Ranch Experience With the Artists.”
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STORIES OF THE SMOKIES
Fulton high school students show off their
finished plein air works.
The local community takes in the exhibition.
Friends of the Smokies recently welcomed 80 artists
to Great Smoky Mountains National Park for the 2nd
Annual Plein Air Smokies, an event that not only raises
critical funds for the park, but also allows visitors to
experience the on-site creation of park-inspired art.
The event raised $319,000 in total revenue, including
more than $167,000 in artwork sales.
“We are so grateful for this generation of talented
artists who captured unique Smokies scenes that tell
the story of the park today in much the same way
as those early painters and photographers whose
images inspired the creation of the park,” said Friends
President Dana Soehn.
Charles Newman poses
Twenty nationally acclaimed artists were selected
with his Best of Show
from
a juried pool of 100. They spent the week creating
painting.
158 paintings in places like Cades Cove, Clingmans
Dome, Newfound Gap Road, and Elkmont. Judge Mark
Hanson awarded Best of Show to Charles Newman, Best Use of Light to Marc Anderson,
Best Water to Christine Lashley, Best Structure to Richard Sneary, and Best Landscape to
Richie Vios. Artists’ Choice went to Kathie Odom for her body of work.
Students from Fulton and Gatlinburg-Pittman high schools were also provided an
opportunity to create plein air paintings onsite at Elkmont after receiving instruction from
the professional artists. The sale of their artwork generated $2,000 in revenue to support
park projects. The following students received awards: Ava Jensen, First Place; Rocio
Valenzuela, Second Place; and Raven Walker, Third Place.
“I’m really grateful to be here and experience this because I can paint without stressing
out too much because nature is relaxing me,” said Fulton student Maria Elena Mendez
Aquino. “I’m so grateful to take all these images in and put them into a painting in my own
perspective that I can choose because I can change it. This field trip is different from others
because instead of learning and looking, I’m using my mind to take in the image and translate
it in my head in an artistic way. Instead of just looking at it, I actually get to create it.”
Regional artists were invited to participate in a two-hour quick draw alongside the
20 juried artists in downtown Maryville. In the juried artist category, Charlie Hunter won
First Place; John Guernsey, Second Place; and Shelby Keefe, Third Place. In the open
category, Susan Duke Waters took First Place; Donna Brumbergs, Second Place; and Alex
Eisenzopf, Third Place.
WINNERS IN SARANAC LAKE
Artists at the 15th annual Adirondack Plein Air Festival sold nearly 100 paintings, setting a new
record. Awards Juror Mick McAndrews awarded First Place to George Van Hook for High
Water, Second Place to Hai-Ou Hou for Forever Running, Third Place to Jim Laurino for Open
Door on Franklin Avenue, the Artists Guild Award to Patrick McPhee for Whiteface From Little
Cherry Patch Pond, The BookStore Plus Award to Vlad Duchev for After a Long Day, and the
Paul Smiths VIC Award to Anik McGrory for Where the Otters Play.
Hai-Ou Hou won the Nocturne Contest for Quietude, as selected by artist Jackie Altman.
Kari Ruiz won the Quick Draw Competition, judged by Jennifer Bilow of Downtown Artists
Cellar in Malone. Dylan McKnight received an Honorable Mention Award for Lake Flower
Morning. A first-time attendee, McKnight ended up being the top seller at the event, sending
a total of eight paintings of the Adirondacks to new homes. Two days of visitors voted for
Robin Roberts to receive the Peoples’ Choice Award; and the Artists’ Choice Award went to
Jennifer Sampson.
First place painting High Water by George Van Hook
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“I never in my life saw more horrible
things… They do not observe drawing nor
form, but give you an impression of what
they call nature. It was worse than the
Chamber of Horrors.”
— J. Alden Weir, on viewing an exhibition
of Impressionism in Paris in 1877
The Reluctant
Impressionist
J. Alden Weir traded a painting of a flower for a farm in Connecticut,
and it transformed his approach to painting.
A
BY CHRISTOPHER VOLPE
rt historians consider J. Alden Weir (1852–1919) an American
Impressionist, although he initially hated the style, an exhibition of
which in 1877 he called “worse than the Chamber of Horrors.” He
couldn’t have known, at age 25, that Impressionism would eventually eclipse realism, transform his own style in the process, and take
the world by storm with its fresh — indeed revolutionary — influence that is still
being practiced and taught by leading painters today.
To be fair to Weir, the style was as radical as it was new. Just three years
earlier, Impressionism had its coming-out party: a loosely knit band of young
rebel painters mounted their own unsanctioned exhibition in an empty carriage garage on the same Parisian street as the famed Salon. A reviewer, one of
many dismissive and disdainful critics of that 1874 show, dubbed the band of
anti-artists “Impressionists” after the title of Monet’s entry, Impression, Sunset.
So began a revolution in Western art.
THE GREAT EXCHANGE
In June 1882, art collector Erwin Davis offered Weir a 155-acre farm in the Branchville
neighborhood of Ridgefield, Connecticut, in exchange for a “flower”
painting from Weir’s private collection. (The title of the flower painting
and its artist [probably not Weir] are
the stuff of cold case art history mysteries.) Intrigued by the offer, Weir
made the trip from New York to see
the farm. He quickly agreed to the
sale, and on July 19, 1882, the Davises
signed the deed that formally transferred the property to Weir.
“My name is J. Alden Weir and I do
not approve this abomination …
whatchamacallit ‘Impressionism’ thing.”
The Red Bridge
(Portrait of Weir in 1890 by John Singer
J. Alden Weir
Sargent)
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(ABOVE) Landscape With Stone Wall , J. Alden Weir, 1892, oil on canvas,
32 x 36 in. • (RIGHT) Spring Landscape, Branchville , J. Alden Weir, 1882,
watercolor on paper, 5 x 6 3/4 in.
The artist quickly fell in love with the place. There he
painted both beautiful vistas and dying trees, believing that
common subjects are worth examining. It was, and is, truly
a plein air painter’s paradise, with more than 60 acres of
painterly woods, fields, and waterways. Weir described it as
the “Great Good Place,” and you can go and paint there, too.
Today, Weir Farm is open to the public, a plein air mecca of
a national park, with its own teaching Impressionist artistin-residence.
Weir came to Impressionism in a big way, all at once,
but not until about 1890, 13 years after he initially dismissed
Impressionist paintings — done, to his naive eye, “without
drawing nor form” — as “horrible things.” It was then and there
that Weir had his revelation; he suddenly “got” Impressionism.
For the first time in his life, Weir found himself painting the
pastures, groves, streams, and fields with an Impressionistic
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Autumn Rain
J. Alden Weir
1890, oil on canvas, 16 x 24 1/4 in.
Lengthening Shadows, J. Alden Weir, 1887, oil on canvas, 20 1/4 x 25 in.
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fervor soaked with feeling for nature’s beauty,
finally giving himself up to “an impression
of what they call nature.” He debuted his
new painting style in an 1891 exhibit at the
Blakeslee Gallery in New York City.
Unfortunately, critics wrote mostly negative reviews, exclaiming the paintings were
“less refined in quality than Mr. Weir knows
how to make.” Even his brother, artist John
Ferguson Weir, didn’t understand the exhibit
and called him a fool.
Weir wrote his brother in response, “I
have exhibited these things because I recognize in them a truth which I have never felt
before … my eyes, I feel, have been opened to
a big truth.” His big truth was to create paintings that showed what he called the “character and aspect” of the subject, not necessarily
a realistic representation of what he saw.
“I don’t like what others find attractive,”
Weir once wrote. When he said this, he was
speaking about a winding country road, but
the same could apply to his bridge painting or to The Open Barway. (A barway is an
opening in a stone wall for wagons to drive
through.) This is not the beautiful landscape
one might expect. Note the dead tree dominating the foreground and the vista of the
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Harbor Scene
John Henry Twachtman
c. 1900-1902, oil on panel
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The Open Barway
J. Alden Weir
c. 1910, oil on canvas
landscape broken up by the intersection
of several stone walls. Even the two stately
trees in the background are cut off.
As the viewer’s eye moves past the
dead branches drooping across the foreground, we take in the sun lighting up a
small, pink tree nearly hidden behind the
bare branches. Only the ends of the stone
wall and courtyard are bathed in sunlight,
with most of the painting (as in Lengthening Shadows) given over to shade.
STAYING TRUE TO HIS ROOTS
While staying at the farm, Weir cultivated
his friendship with John Henry Twachtman, who lived 28 miles away in Greenwich,
Connecticut. Much like Weir, Twachtman
was primarily an American landscape artist whose style combined the techniques
of Impressionism and Tonalism. Farm pastures, old houses, waterways, and meadows,
punctuated by the occasional gritty harbor
or rustic bridge, and rendered at times in
lush greens and at others in muted earth
tones, featured in both artists’ work. Having
shared a keen ability to convey emotion and
unconventional beauty in their work, they
often painted and exhibited together, and
both taught at the Art Students League in
New York.
Art historians consider Weir’s The Red
Bridge one of his best works. Its staccato,
directional brushwork shows just how much
of Impressionism Weir ended up embracing.
The subject, however, a railroad trestle seen
at a rakish angle, and the unusual, cropped
composition, speak to what was fresh in
Weir’s work and underscore his adaptation
(as opposed to imitation) of the Impressionist approach for rendering genuinely
observed American imagery in this moment
in place and time.
CHRISTOPHER VOLPE is editor of the InsideART newsletter.
Autumn
J. Alden Weir
1890, oil on canvas
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2022 PAINTINGS
softcover, 8x8, now available
at www.hunter-studio.com
TRAIL TOWN
24x36, oil and encaustic on muslin,
courtesy of Buffalo Bill
Art Show and Sale
Watch “Reasonably Fine Art Talks”
on YouTube.
www.hunter-studio.com
www.charliehunter.art
“Charlie Hunter has the uncanny ability to seize upon the most ordinary things, and transform
them with his brush into bewitching jewels of design and artistic perception.” - Richard Schmid
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Cynthia Rosen
www.cynthiarosen.com | cynthiarosenart@gmail.com | 802-345-8863
Lobster Traps In Rockport, 16x20 in. , oil
GEOFF
ALLEN
2024 Workshops
Tubac, AZ
February 28- March 1
Borrego Springs, CA
March 11-13
Redondo Beach, CA
April 18-19
San Diego, CA
May 7-8
Urbania, Italy
June 16-22
Alameda, CA
August 5-6
Santa Fe, NM
October 2-4
San Luis Obispo, CA
October 21-23
Casa Romantica,
10.5 x 14 in., Watercolor
w w w. g e o f f a l l e n a r t . c o m
w w w . o u t d o o r p a i n t e r . c o m
geoffallenh2o@gmail.com
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081
Fundamentals of Acrylic Painting
with Melissa Arthur
February 24 - 25, 2024
Rockport, TX
rockportartcenter.com
Your creative oasis on the Texas coast.
082
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ALBERT HANDELL
PSA MASTER & HALL OF FAME HONOREE
Studio visits welcomed!
Studio/Worshop/Gallery
Cell 505-603-1524
WORKSHOPS
2023
Santa Fe, NM, Studio Oil Workshop, December 6-9
2024
Austin, TX, Studio Pastel Workshop, January 16-19
Raleigh, NC, April 9-13
Austin TX, Studio Oil Workshop, March 18-22
EVENTS
Cherokee, NC, Plein Air Convention, May 20-24
Albuquerque, NM, International Association of Pastel Societies,
June 11-16
July Afternoon, 16 x 16, Pastel
www.alberthandellstudio.com • 505-603-1524 • alberthandell@msn.com
Dry Wash 10 x 20 Oil
natalieshupe.com l info@natalieshupe.com l @natalieshupefineart
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Juried Competition
WORKSHOPS ON ST. SIMONS ISLAND, GA
Sponsored by:
Anderson Fine Art Gallery
3309 Frederica Rd. • St. Simons Island, GA.
10th Annual
March 9-16, 2024
Call to Register or for Information
912.634.8414 • workshopsonstsimonsisland.com
ONLINE & STUDIO
CHRIS GROVES
ONLINE . 6-part Series . Every Other Monday, 9-11am
Capturing the Emotion of the Moment with Impressionism
December 4, 18, 2023, January 8, 22, February 5, 19, 2024
KATHERINE GALBRAITH
The Portrait with Model - January 18, 19, 20, 2024
Best of Show 2023 Morning Search by Kari Ganoung Ruiz
EVE MILLER
Possibilities in Pastels - January 25, 26, 27, 2024
CHRIS GROVES
Capturing the Emotion of the Moment with Impressionism
February 8, 9, 10, 2024
CATHERINE HILLIS
Spring in Watercolors – February 15, 16, 17, 2024
DEE BEARD DEAN
Bringing Your Paintings to the Next Level
February 26, 27, 28, 2024
NANCY TANKERSLEY
Landscapes & Flowers - March 14, 15, 16, 2024
ANN LARSEN
Creating Dynamic Paintings from Photographs
March 21, 22, 23, 2024
PAUL BATCH
Bringing the Outside In - April 5, 6, 7, 2024
GRACE DeVITO
Painting the Still Life - May 16, 17, 18, 2024
084
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Shadows-On-The-Teche
New Iberia, LA
$10,000 in Cash Prizes
337.369.6446 • ShadowsOnTheTeche.org
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VALERIE ORLEMANN
Landscapes of the West
Henrieville Creek, 10x20”, oil on canvas panel
www.OrlemannArt.com • 435-463-4528 • vorlemann@gmail.com Artisans Gallery, Cedar City, Utah • Slot Canyons Inn, Escalante, Utah
w w w . o u t d o o r p a i n t e r . c o m
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085
BARBARA TAPP
FARLEY LEWIS
A Wandering Watercolorist
Good Morning, Los Rios Historic District 11x15
Twins, 11x14 acrylic on panel
Beloved California | Nov - Dec 2023
Tim Holton Gallery and Studio | Berkeley CA
www.farleylewis.com
farleylewis@gmail.com
The Barbara Tapp Method
Video Available Paintube TV
Represented by Fresh Gallery • Springfield, MO
Statton Gallery • Eureka Springs, AR
The Galleries at Heartland Art Club • St. Louis, MO
www.barbaratappartist.com • dieselbt@aol.com • 510.520.8383
JILL BANKS
George Van Hook
Capturing Life in Oils
Corner Crossings, oil, 12x9 in, plein air (detail)
Fine Art for the Collector
Autumn, 24 x 30 in., oil on linen
JillBanks.com
086
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Jill@JillBanks.com
2 0 2 4
georgevanhook@gmail.com
www.georgevanhookfineartist.com
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Cecy Turner
AWA • AIS • WAOWM • NOAPS • NWS • OPS • PAAC
Reaching Beyond, 22 x 33 in., Oil on Linen
Winner Best Master Award
at Women Artists of the West 53rd National Exhibition
www.cecyturner.com • cecy@cecyturner.com • 214-734-9315
®ƠŏŲģƣŏǼƸ܋£ÿƫƸĪŧژ܋Ǣژ
Marti Walker
Capitola Plein Air • Oct 31-Nov 5
MartiWalker.com • marti@martiwalker.com
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CYNTHIA INSON
“Chamisa Morning” 9” x 12” oil
www.cynthiainsonart.com
gallery representation listed on website
Kim Casebeer
LESLIE LAMBERT
www.leslielambertart.com | leslie@leslielambertart.com
Mountain Everlasting, poured watercolor, 20x30”
See website for details about courses, workshops, and events
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Superior Sunrise, oil on linen, 16x20
Painted during Plein Air Grand Marais, September 2023
Learn from an award-winning artist, 23 years teaching experience, pastel
and oil. AWA Master Signature and OPA and PSA Signature Member.
www.KimCasebeer.com
Paint with Kim in Italy, May 25 - June 2, 2024!
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Gotta Love It, 9 x 12” pastel, plein air
Lamya Deeb
lamyadeebfineart.com
BARB WALKER
Ellen Howard
“Changing Seasons”, 9x12, Oil
Round the Corner to the Sea, 12x12 in., oil on linen
Available at Camden Falls Gallery | camdenfallsgallery.com
barbwalkerpaintings.com | barbwalker@barbwalkerpaintings.com
w w w . o u t d o o r p a i n t e r . c o m
www.ellenhowardart.com
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089
KATHLEEN GRAY FARTHING
Plein Air and Still Life Painter
“Sisterhood” 18x24, oil
w w w. Ka t h l e e n G ra y Fa r t h i n g . c o m
Kathleen@KathleenGrayFarthing.com
s h a r o n w e av e r
Natures Jewel Box, 12 x 16 in., Oil
Visit my website for a free video on How to Paint Trees
More online classes available at KlineAcademy.com
www.sharonweaver.com | sharon@sharonweaver.com
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CAROLE BELLIVEAU
Roadside Aspen, Oil on Linen Panel, 12”x6”
www.carolebelliveau.com
KATHLEEN KALINOWSKI
KAMI MENDLIK
IMPRESSIONIST PAINTER
Winter Tracks, 8x10, oil on linen
Joyful, 20x16, Plein air oil on linen panel, 2023
Available from the artist - 616-446-1308
KathleenKalinowski.com | KalinowskiFineArt@gmail.com
w w w . o u t d o o r p a i n t e r . c o m
Author of “Color Relativity: Creating the Illusion of Light with Paint”
First edition is almost sold out!
ORDER YOUR COPY TODAY!
www.colorrelativity.com or www.kamimendlik.com
D e c e m b e r
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091
Lee McVey
PAPNM-M, IAPS-MC, PSNM-DP, PAAC, PSA
Laurel Daniel
Shadow & Light, San Lorenzo _PU7HZ[LS
^^^SLLTJ]L`JVTSLL'SLLTJ]L`JVT
www.laureldaniel.com | 512.632.4166
Fall Garden, 12 x 9, Oil - Available at Anderson Fine Art Gallery
Manon Sander FINE ART
NOAPS, ASMA
Lazy River, oil, 24x24”
UPCOMING RETREATS AND WORKSHOPS:
February 2024, Armory Art Center, West Palm Beach, FL
April 2024, Lighthouse Art Center, Tequesta, FL
May 2024, “Let’s Dream In Italian” Retreat, Italy
November 2024, Tallapoosa School of Art, AL
May 2025, “Capturing the Colors and Light of Italy Retreat”,Le Marche, Italy
Please visit ManonSander.com and register for my newsletter to stay up-to-date
on exciting new learning and travel opportunities and work fresh off the easel.
“Night Light” 8x8” oil on mahogany
KEVIN BARTON
www.kevinbartonartist.com | Instagram: @bartonsartloft.com
bartonart1@gmail.com | 231-838-7085 | Barton’s Art Loft, Petoskey MI
www.ManonSander.com
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Jennifer Riefenberg
Cedaredge, Colorado
Power of Gray, 12x16 in., oil
Mary Williams Fine Arts | Boulder, CO | (303) 938-1588
www.artofsunshine.com | (303)250-2015 | jennifer@artofsunshine.com
A Week of Painting
with Your Tribe
(with no Stress)
No workshop, no juried entry, no competition,
no pressure. Come paint and play with
PleinAir™ magazine Publisher Eric Rhoads.
Learn More: PaintAdirondacks.com/pam
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HILTON
HEAD
ISLAND
SOUTH CAROLINA
LYN ASSELTA
May 1-3, 2024
A Conversation
with the Landscape
Intermediate & Advanced
Pastels
$520 ($468 for members)
ADAM CLAGUE
May 13-15, 2024
Creating Dynamic
Still Life Paintings
in Oils
NancieKingMertz
All Skill Levels; Oils
$475 ($427.50 for members)
PSA-MP, CPP-MP, IAPS-MC&EP
MASTER & EMINENT PASTELIST
ADAM CLAGUE
May 16, 2024
Plein Air Painting the
Landscape in Oils
Intermediate & Advanced
Oils
$175 ($157.50 for members)
Stunning, inspirational vistas to capture your imagination
and invigorate your art. Come for the workshops at
Art League Academy and stay for America’s favorite island*
*Condé Nast Traveler
Top Islands: Reader’s Choice Awards 2023
Visit artleaguehhi.org or call 843.842.5738
094
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Park Avenue South
NancieKingMertz.com | nancie@nanciekingmertz.com
ArtDeTriumph | 773-458-3205
IMMERSIVE WORKSHOPS, ORIGINALS, PRINTS & PRODUCTS
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ArtWishbook.com/2024 · 1-877-867-0
0324
Stream to any device or watch on DVD
The cure for claustrophobia.
Bring the outside into your home.
Call today to subscribe: 800-610-5771 | PleinAirMagazine.com/wish
Green Meadow by Clyde Aspevig
Enhancing Your
Artistic Journey
had no artistic talent. I
couldn’t draw or paint,
and I was very close to
just giving up.
I’m sure many of you can
identify with the feelings I
had — overwhelmed, lacking
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point, I had not received helpful instruction.
That was the key — helpful instruction! Things began
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As my art skills increased, so did my confidence.
From there, it became my lifelong goal to help others
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Look through this Wishbook like a child looking at
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Welcome! I’m delighted you’ve joined our
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I
Eric Rhoads
Founder
Streamline Publishing, Inc. and PaintTube.TV
Please follow me @ericrhoads
6
Reasons Artists Love
PaintTube.TV
1. ARTISTS LOVE TO GROW
Artists know they can always get better, and the best way to learn is to learn
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Great master artists can be at your fingertips on
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M O D E R N M A S T E R S S E R I E S™
U LTI MATE E DITI ON
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Modern Masters Series™ are trademarks of Streamline Publishing, Inc. All Rights Reserved.
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5 D I SC S ET
CLYDE ASPEVIG
Aspevig Ultimate Edition
STAN MILLER
Watercolor Portraits
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2 D I SC S ET
M O D E R N M A S T E R S S E R I E S™
BA S I C E DITI ON
Painting Image “Green Meadow” ™/© 2023 Streamline Publishing, Inc. All Rights Reserved. PaintTube™ and
Modern Masters Series™ are trademarks of Streamline Publishing, Inc. All Rights Reserved.
Cover Design™/© 2023 Streamline Publishing, Inc. All Rights Reserved.
2
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3
Discover the Essence of Nature with Legendary
Master Artist Clyde Aspevig!
elve into the heart of nature
with legendary landscape artist
Clyde Aspevig. Known for his
profound ability to capture nature’s
rugged spirit, Clyde invites you on
a journey beyond the conventional,
into a realm where every brushstroke
resonates with life.
D
For the first time ever, Clyde unveils
his enriching painting philosophies on
film, offering you a lens to view nature
through the eyes of a master. His
deep reverence for the natural world
transforms every scene into a canvas of
exploration, urging you to delve more
deeply and to see beyond the obvious.
This exclusive release is not just a
tutorial but an expedition into nature’s
essence, guided by Clyde’s seasoned
perspective. His nuanced approach
encourages a dialogue between you
and nature, where every brushstroke
tells a story, evoking emotions that
transcend the canvas.
journey and his core techniques over
a 2-hour demonstration. Gain insights
into what sparks his inspiration, and
take away a list of cherished books that
fuel Clyde’s creativity.
PREMIUM EDITION
For those seeking a deeper
understanding, the Premium Edition
expands on the Basic, offering the FULL
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delve into an exclusive interview with
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on a tour of the Whitney Western Art
Museum in Cody, Wyoming.
ULTIMATE EDITION
For the artist looking for the most
complete learning experience, the
Ultimate Edition is your choice —
unlocking over 3 hours of additional
in-depth instructional content! Inside,
you’ll enjoy a rare “Land Snorkeling”
segment, a cherished secret Clyde
credits for his incredible works of art.
With Clyde’s guidance, every landscape
you paint will transform from a mere
scene to a memorable experience — a
narrative packed with emotion and
expression and a colorful celebration of
nature’s essence. His legacy becomes
a bridge to your future artistic growth,
offering a perspective that could
redefine your painting journey and
make every artwork a tribute to the
natural world.
The Ultimate Edition is a comprehensive
encyclopedia of in-depth experiences
and insight. From behind-the-scenes
tours to exclusive interviews, you’ll find
a rich array of content that unveils the
philosophies and inspirations driving
Clyde’s masterpieces. It’s a treasure
trove for any artist eager to explore the
deepest realms of landscape painting
with exclusive insights straight from the
legendary landscape artist himself.
Since Clyde stopped teaching years ago
due to overwhelming demand for his
incredible works of art, this course is the
only way to learn from him and access
his mastery. The good news is you can
stop, pause, and rewind this course and
have him as your “personal instructor”
… for life!
Take this rare opportunity to elevate
your artistry and see nature through the
eyes of a master. You’ll discover how to
paint landscapes that tell stories, evoke
emotion, and celebrate the natural
world in a way you’ve never done
before!
M O D E R N M A S T E R S S E R I E S™
About the Artist
With an unmatched ability to foster a deep connection between
humanity and nature’s unspoiled beauty, Clyde Aspevig is
unparalleled in his mastery of landscape painting. His artistry is
celebrated nationwide with exhibitions across prestigious museums
and accolades like Best of Show at the Montana Land Reliance Fine
Art Exhibition & Sale and the Robert Lougheed Memorial Award at
the Prix de West Invitational.
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M O D E R N M A S T E R S S E R I E S™
CHOOSE YOUR OWN
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We’ve gone above and beyond to
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ensuring there’s something for every
aspiring artist.
BASIC EDITION
The Basic Edition lays the foundation,
introducing you to Clyde’s artistic
4
U LTI MATE E DITI ON
Painting Image “Green Meadow” /© 2023 Streamline Publishing, Inc. All Rights Reserved. PaintTube and
Modern Masters Series are trademarks of Streamline Publishing, Inc. All Rights Reserved.
Cover Design /© 2023 Streamline Publishing, Inc. All Rights Reserved.
PR E M I U M E DITI ON
Painting Image “Green Meadow” /© 2023 Streamline Publishing, Inc. All Rights Reserved. PaintTube and
Modern Masters Series are trademarks of Streamline Publishing, Inc. All Rights Reserved.
Cover Design /© 2023 Streamline Publishing, Inc. All Rights Reserved.
BA S I C E DITI ON
Painting Image “Green
Green Meadow”” /© 2023 Streamline Publishing, Inc. All Rights Reserved. PaintTube and
Modern Masters Series are trademarks of Streamline Publishing, Inc. All Rights Reserved.
C over Design
D i /© 2023 Streamline Publishing, Inc. All Rights Reserved.
Cover
5 D I SC S ET
2 D I SC S ET
CLYDE ASPEVIG
Aspevig Ultimate Edition
CLYDE ASPEVIG
Aspevig Premium Edition
CLYDE ASPEVIG
Aspevig Basic Edition
DCA3 · 9+ Hours · $915.97
DCA2 · 6+ Hours · $400.97
DCA1 · 2+ Hours · $194.97
ORDER NOW: 877-867-0324 or ArtWishbook.com/page4
JOHN MACDONALD
Creating Dynamic Landscapes
JOSEPH MCGURL
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5
STAN MILLER
The Secret to Captivating Watercolor Portraits
Isn’t Just Skill - It’s This.
id you know that a
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D
Stan explains why some reference
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only get after years of painting.
This element in the painting process
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Stan delves deeply into optimizing
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Stan’s guidance addresses
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Under Stan Miller’s guidance, each
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STAN MILLER
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6
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8
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Directory of Advertising
Acuna, Hector .............................................................................................. 80
Knoxville Museum of Art/Artists on Location........................................UG45
Rasche, Jessie ................................................................................................ 88
Alexandria Museum of Art......................................................... UG27, UG31
Laguna Plein Air Painters Association........................................ UG20, UG55
Redwood Art Association.............................................................................. 94
Alla Prima Westcliffe, Sangres Art Guild.................................... UG16, UG22
Lambert, Leslie ............................................................................................. 88
Riefenberg, Jennifer ...................................................................................... 93
Allen, Geoff .................................................................................................. 81
Larry Cannon Watercolors.............................................................................. 2
Rockport Center For The Arts ..............................................................82, 105
American Impressionist Society ............................................UG28-33, UG39
Lewis, Farley ................................................................................................. 86
Roger Tory Peterson Institute..................................................... UG35, UG41
Anderson Fine Art Gallery ............................................................................ 84
Lighthouse ArtCenter ....................................................................... UG22-23
Rosen, Cynthia.............................................................................................. 81
Art Center of Montross, The...................................................................UG47
Lost Sierra Plein Air ................................................................................UG18
Sander, Manon ............................................................................................. 92
Art In the Open, Ireland ............................................................ UG39, UG48
Lussier, David Alan ...................................................................................... 87
Saranac Lake ArtWorks - Adirondack Plein Air Festival ............ UG41, UG44
Art League of Hilton Head ........................................................................... 94
Mason, Sherry .............................................................................................. 85
Sedona Arts Center/Sedona Plein Air Festival ........................... UG18, UG28
ArtFrames.com........................................................................................UG53
McVey, Lee ................................................................................................... 92
Sennelier ..................................................................................................... 108
Arts Mineral Point/Paint the Point............................................. UG45, UG48
Mendlik, Kami ............................................................................................. 91
Arts of Great Falls....................................................................................UG47
Sharma, Sandhya .......................................................................................... 12
Mertz, Nancie King ...................................................................................... 94
Augusta Plein Air Festival..............................................................UG4, UG34
Monterey Bay Plein Air Painters Association ............................. UG22, UG42
Barton, Kevin ............................................................................................... 92
NC Plein Air Art Festival New Bern.......................................... UG24, UG42
Belliveau, Carole ........................................................................................... 91
New Braunfels Art League, Two Rivers Plein Air....................................UG46
Big Sky Artists - Paint Under the Big Sky .............................UG34-39, UG39
Bisbee Plein Air Festival / Central School Project ...................................UG16
New Iberia Parish Convention & Visitors Bureau, Shadows-on-the-Teche
Plein Air Competition.......................................................... 84, UG27, UG42
BLICK Art Materials..............................................................................UG 56
Ohio Plein Air Society....................................................................... UG42-43
Tapp, Barbara ............................................................................................... 86
Blowing Rock Art & History Museum ..................................... UG18, UG43
Oil Painters of America .............................................................. UG25, UG43
Telluride Plein Air/Sheridan Arts Foundation .......................... UG22, UG44,
Bluff Strokes ..................................................................................UG6, UG26
Olmsted Arts, Inc, Olmsted Plein Air Invitational .................... UG24, UG36
Turner, Cecy ................................................................................................. 87
Borrego Art Institute .................................................................. UG18, UG34
Open Studios, Boulder Plein Air.............................................................UG22
Tyng, Alexandra ........................................................................................... 13
Bozeman Art Museum ..................................................................UG7, UG39
Orange County Arts Commission..........................................................UG43
Van Hook, George ....................................................................................... 86
Brian Sindler Studio...................................................................................... 82
Orlemann, Valerie ........................................................................................ 85
Venice Plein Air ......................................................................... UG24, UG37
Brown, Anne Blair ........................................................................................ 11
Outdoor Painters of Minnesota/Plein Air Grand Marais......UG33-34, UG43
Village of Barrington, Plein Air...............................................................UG25
Brown, Brienne ............................................................................................ 87
Outdoor Painters Society/Plein Air Southwest .......................... UG33, UG46
Virginia Highlands Festival Plein Air Abingdon........................ UG37, UG47
Brushes by the Beach c/o G. Lee Gallery ................................................UG46
Paint Annapolis - Maryland Federation of Art........................... UG27, UG37
Visual Arts Guild of Frisco - En Plein Air Frisco ....................................UG46
Byrne, Michele ............................................................................................. 88
Paint Historic Waxahachie, Ellis County Arts Association ........ UG26, UG46
Walker, Barb ................................................................................................. 88
Cape Ann Plein Air, Inc. ................................................................... UG32-33
Paint It Ellicott City/Howard County Arts Council.............UG27-28, UG38
Walker, Marti ............................................................................................... 87
Casebeer, Kim .............................................................................................. 88
Peninsula School of Art, Door County Plein Air....................... UG25, UG47
Cashiers Plein Air Festival-The Village Green............................ UG32, UG42
Plein Air Artists Colorado .......................................................... UG22, UG36
Wallkill River Center for the Arts - Hudson Valley Plein Air Festival....UG41,
UG46
Caspari, Robin ............................................................................................. 12
Plein Air Down Under............................................................... UG43, UG48
Waseem, Durre ............................................................................................. 15
Cedarburg Artists Guild - Plein Air: A Paint Cedarburg Event . UG39, UG47
Plein Air Easton................................................................................. UG27-28
Wayne Art Center/Wayne Plein Air Festival.............................. UG30, UG43
City of Carmel, Carmel on Canvas Plein Air Paint Out...............UG2, UG26
PLEIN AIR SMOKIES .........................................................................UG45
Weaver, Sharon ............................................................................................. 90
Colorado Monuments and Canyons Plein Air Invitational....... UG22, UG45
Plein Air Washington Artists...................................................... UG44, UG47
Weinberger, Steve ......................................................................................... 90
Come Paint the Sandhills of Nebraska ...................................... UG39, UG45
Plein Air West Reading ...........................................................................UG44
Winslow Art Center..................................................................................... 4,5
Crooked Tree Arts Center, Paint Grand Traverse ...................... UG33, UG35
Rapa, Christine ............................................................................................ 93
Winter Park Paint Out............................................................... UG23, UG38
Shupe, Natalie .............................................................................................. 83
Sonoma Plein Air Foundation ................................................................UG20
St. Augustine Art Association.................................................... UG23, UG35,
Steamboat Art Museum, Plein Air 2024.......................................UG5, UG22
Suffolk Center for Cultural Arts.....................................UG29, UG44, UG47
Culver and Lake Maxinkuckee Visitor Center, Culver Paint Out .........UG26,
UG36
Daniel, Laurel ............................................................................................... 92
De Smet Development Corp, Harvey Dunn Plein Air...........................UG44
Deeb, Lamya ................................................................................................ 88
Desert Plein Air Association....................................................... UG18, UG41
Downtown Driggs Assoc./Driggs Plein Air ............................... UG24, UG41
Eagle Plein Air Festival & Competition..................................... UG25, UG41
Eastern Shore Art Center ........................................................................UG16
Paint the Light, Not the Details!
with Jean-Francois Arnaud
February 1-3, 2024
En Plein Air Pro ......................................................................................UG53
Rockport, TX
EnPlein Air Texas/San Angelo Museum of Fine Arts................. UG20, UG46
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Escalante Canyons Art Festival................................................... UG45, UG47
Fabriano ........................................................................................................ 17
Farthing, Kathleen Gray ............................................................................... 90
Floyd Center for the Arts / Floyd Plein Air Festival, The........... UG29, UG47
Forgotten Coast Cultural Coalition ..............................................UG3, UG23
Frank Bette Center for the Arts/Plein Air Paint Out ................. UG20, UG41
Gage Academy of Art................................................................. UG30, UG47
Georgetown Heritage Center and Cultural Arts, Georgetown Plein Air UG22
Grand Canyon Conservancy- Celebration of Art ...................................UG16
Great Migration Paint Out, Town of Kingsville, The .............................UG48
Griffith, Bonnie Zahn .................................................................................... 7
Guild of Berkshire Artists........................................................... UG28, UG42
Halbert, Karen ................................................................................................ 8
Handell, Albert ............................................................................................. 83
Harris, Cindy ............................................................................................... 91
Highland Lakes Creative Arts/Paint the Town Marble Falls ...... UG32, UG46
Hill City Arts Council................................................................ UG34, UG44
Hockaday Museum of Art.......................................................... UG33, UG39
Howard, Ellen .............................................................................................. 88
Hunter Studio ............................................................................................... 80
Huse Skelly Fine Art Gallery........................................................................... 6
Indiana Plein Air Painters Association, First Brush of Spring .... UG17, UG26
Inson, Cynthia .............................................................................................. 88
Jack Richeson & Company, Inc.................................................................. 107
Jill E. Banks Art, LTD................................................................................... 86
Johnson, Krentz ............................................................................................ 90
Joyce, Shawn Dell ............................................................................. UG23-24
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D e c e m b e r
2 0 2 3 - J a n u a r y
2 0 2 4
105
from
the
THE GAME, 2023, oil, 12 x 12 in. , private collection, plein air
A
s a veteran re-enactor of various time periods, I often find myself embedded with like-minded folks who choose to experience history firsthand,”
says Lon Brauer. “This summer I played the part of an itinerant painter
of the early 1800s in the annual gathering at the Grand Portage National
Monument. Home to the once-major North West Company, the old fur
trade post lies nestled on Lake Superior’s western shore in northern Minnesota.
“A rough-and-tumble game of baggataway [a precursor to lacrosse that originated with the indigenous people of North America] delivered a highlight of the
weekend’s festivities. Painting the contest live en plein air challenged my memory
muscles, but I stayed in period to keep the recreation as real as possible. I stored my
oil paint in pig bladders and mostly stuck to round brushes. Apart from that, painting
is painting and has changed little through the ages.”
LON BRAUER in front of the Great Hall at Grand Portage National Monument
(photo by Michael Rues) lonbrauer.com
Have an interesting story to share from your latest plein air painting
adventure? Let me hear about it at kelly@pleinairmagazine.com.
106
D e c e m b e r
2 0 2 3 - J a n u a r y
2 0 2 4
w w w . o u t d o o r p a i n t e r . c o m
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