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Taking a Field Trip to la Espana...

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In a few days my wife and I will be off to Spain and Morocco. We will start by landing in Madrid and visiting the Sorolla Museum, the Prado, and the Sofia. If we can fit the Thyssen into our time there we will, but even I – the art-history-junkie – can get slammed by museum fatigue and I like some time to paint in the streets, as well as to hang out in the cafes eating tapas and sipping a fine tempranillo late into the warm night. (Sorolla at work, left.)

And you know me, I'll try to blog as we go, so check back here every now and then to see how things are going, assuming I can find decent WiFi (WeeFee in espanol?) in the more remote areas I will be traveling into.


Sorolla's Studio


The entrance to the Prado. Who is the artist? Velaquez?

After a couple days we will head south to Granada where I hope to paint in and around the Alhambra. I am going to try to talk my way into the Moorish gardens and fountains which lay within the fortress walls. Failing that, I am confident there will be plenty of subjects to paint in the barrio where we will be staying. 'El Albayzin' was declared a World Heritage site back in 1984, along with the Alhambra above it, and from what I can see online the light in that part of the city will be crisp and clear. And since everything is built on a hill I expect to find plenty of winding alleyways, and nooks and crannies indirectly lit by the sky. How romantic.





Then, we pack up and move on again. This time we ferry across the Mediterranean to Morocco and take a Grand Taxi into the Rif mountains to the small town of Chefchoauen. (Known as the blue town of Northern Africa.) Chefchoauen has been passed back and forth between the Berbers, the Arabs, and Spaniards a number of times over the past five centuries. And while still under the control of Spain in the early 1900's the walls were rinsed with strong blue pigment. So the light bouncing around in the streets must be intensely colored. Of course I will try to capture that. I'd better bring some extra blue. Probably phthalocyanine – a color I almost never use. Because phthalo is the crack cocaine of plein air painting.





After a few days in Chefchoauen our friends will split off to take a camel trek into the desert – and then fly out of Casablanca. ("Of all the gin joints in all the towns, in all the world, she walks into mine"... ) My wife and I will ferry back to Spain, hop on a train, and plant ourselves in the ancient Andalusian hill town of Ronda, a place said to be the location for Hemingway's "For Whom the Bell Tolls," a novel I've picked up a couple of times but never quite finished. (I've put a copy on the iPad. Maybe I'll finish it there.) There is an awe-inspiring stone bridge in Ronda called the Puente Nuevo and it links the main part of the town to an outcropping that served as the Jewish Quarter during the Moorish period. But don't let the word 'nuevo' fool you. The bridge was completed in 1751 and it took 50 deaths and 42 years of hauling rock up from the riverbed 300 feet below to build it. By my standards that makes for an old bridge, not a new one. I'm an American. In my part of the world it can be hard to find anything older than 150 years old, let alone a 300 foot high bridge built out of stone back in the 18th century. So I'm guessing the Puente Nuevo must be a noob when compared to the things around it.

The Puente Nuevo as painted in the 19th Century by Edward Angelo Goodall. 
Watercolor & gouache, in a London private collection.


The Puente Nuevo as it appears today.


Aerial view of the Puente Nuevo and Ronda. 
We will be staying in the Jewish Quarter on the rock outcrop to the right of the bridge.

–––

This is a private trip with family and friends and not a plein air competition, invitational, convention, or expo. Which will feel nice. Even so I'll be doing a little business as we move around – painting, of course – but I'll also take some time off to chillax. (remember the tapas and tempranillo?...) I am shooting for 20 finished panels with the idea of exhibiting them over the winter and offering them to my collectors, but this trip is also a test. I've always wanted to combine painting with distant travel and my success over the past few years has offered me a chance to live this  dream. So the bargain I've struck with my wife is this: I can paint undistracted from dawn to noon but I must be prepared to quit by then. Which sounds fair. For without such a clear cut-off I am sure I'd disappear into the day.

Of course, only one week after we return home I fly down to Laguna Beach to participate in the 14th Annual Plein Air Invitational for the third year in a row. But hey, I'm down with that. Life is good...



In Madrid...

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You know it has been a long day of travel when you actually see two sunrises before you get to your destination. Finally settled into the La Latina district in Madrid. Hope to paint tomorrow morning. The streets were a crush tonight


A nice thing, turns out there was an art supply store right next to my rental. Where I could pick up some solvente inodoro o trementina. Very old-school. Wish I had a shop like it at home. Way cooler than any Dick Blick...



Salut!



- Posted from my iPad

in Madrid: on the street...

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Painted a little quick one this morning as a warm up.Clearly not my strongest effort, but not my weakest either. I got out the door at 620 am and walked around for 2 hours, and felt intimidated by the architecture. (The sun doesn't actually rise over the horizon until 8:30 so tomorrow I'll sleep in. Got up at 5:30, I was so jacked...) As I walked around, I kept running into last nights revelers stumbling their way home. Most of them were singing loudly in the alleyways, leaning on shoulders and walls.

Yes, this place intimidates me. But like John Cage advises, "Start anywhere..."













"Anywhere" turned out to be right outside my door, around the corner. 8 x 12 inches. This is not a great copy shot to share – just a quick snap of it lying on the floor in my rental, but I promised to post as much as possible on this trip. I think I can clean it up at home and make something out of it. The buildings around here in Latina are awesome. Many date back centuries.

While at the museum I met a man and his wife from Mexico City. (Via time in Chicago.) We were both speechless at the paintings in Sorolla's home and instantly bonded from the experience. Unbelievable paintings in Sorolla's house. So few of his paintings in the US yet so many painting on the walls, but not in print. I'll do a post on them after I get back. The entire second floor was devoted to paintings of his wife Clothilde. They met when they were both quite young. You can actually see her aging as he painted her over the years. What a beauty. What a gift.




Lunch was Paella in a street cafe. Siesta? Eh, what siesta? Tonight is more Tapas and Tempranillo, but this time in the upscale part of the city west of the Plaza Mayor. Tomorrow, either the Museo de Thyssen Bornemisza or the Sofia, and then a little more painting in la Jardin out front. Another warm up. Monday, we are off to Granada. By car. We are going to see southern Spain...

Buenos tardes all!

Thomas


- Posted on the road from my iPad

In Madrid: Day Two...

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An morning onlooker...


So far, the folks in Madrid have been polite and respectful. I was painting in a crowded neighboring square this morning with lots of people milling about. People roll out of bed around 10:00 am around here. People stopped to check me out, but let me work without questions or interruption. Not like my part of the world. (Andrew Wyeth was known to paint out in a field while sitting inside a cardboard box.) Nice!

This morning's painting -- again, a crappy shot. I think I am rushing the paintings. I will slow down starting tomorrow morning.





Afterwards I went to the Thyssen, and then the Prado, with my wife and friends. They knew I'd take a long time to look at the art so they gave me a head start. They still had to wait for me. Sorry about that.




Me and Mr. Velasquez...



OMG! Las Meninas is flawless. 10 x 9 feet of awesome. And that's not a big painting for the Prado.

On the way back it rained cats and dogs. So we had a quick stop for a Irish coffee to wait it out. The view from our balcony after we got in.


Going out for more tapas and Tempranillo next. The coffee in Madrid is excellent but you can't get it until about 9:00 am or so. Who needs sleep anyway?

Tomorrow, Toledo and then Granada.

Thomas

–––––––
Posted on the road...

In Granada...

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Got in with my wife and friends about midnight. Left Madrid at 11 am, stopped in Toledo to walk through the city (It's like Venice on a hill!), and then stopped on the way south to paint windmills -- the kind Don Quixote tilted with in La Mancha.

The irony, me painting Cervantes' windmills in Spain, and me also being from the Columbia Gorge, where wind farms are being planted like corn. And what did I see far off in the distance? Vestas' massive wind turbines...

I am too tired to post pictures from the camera tonight so here are a few culled from 'te internets'...

My view that welcomed me as we followed our host (on a scooter up into the Albicin. I will paint this while I am here.



The Albicin. (google it.)







And those windmills, from the angle I painted. I'll post the art tomorrow.




It's 1:45 pm my time so good night.

Thomas

Posted on the road from my iPad

In Granada...

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What a city. This is my kind of place. And here is a correction. I said in my last post that the Albicin (Albizin, if you are muslim...) was a thousand years old. Sorry to short the place. There has been continuous inhabitation of this place for over seven thousand years and this hillside for over 2.7 millennia. Granada seems to be literally the cross-road of humanity in Europe, excepting the Caucuses, and I want to go there too!

We walked out of the Albacin today, meaning downhill, to re-enter modernity for a bit and on the way we came across this street. A taste of Morocco to come, eh?


Then, while continuing our walking tour, I stumbled across this guy, Jem along the river Darro. We'd come across a number of classical guitar players in the street but this fellow was different. He wasn't playing the Busker's Canon of Spanish Tourist Songs – meaning, Gypsy Kings, Frank Sinatra, and so on – and he kept his head and face covered with a impromptu keffiyef. I think to stay focused on the music. A true artist. So I stopped and listened. I could hear a number of classical Spanish composers my mother used play for me as a child, but I couldn't identify the song list. So I bought his CD out of his case and look forward to listening to it in the studio at home. I did the same thing ten years ago in San Miguel Allende – buying a lovely trio's homespun CD in a bar, and when I got it home they'd embedded this awful click-track accompaniment so I never played it again. But I don't think this will be the case with this Jem. I'll be sending him the photos I took and a downloadable link to this video. I hope he becomes famous. He deserves it for surprising the listener.

Enjoy:

YouTube Video

Oh, and a kitty picture for those of you who like fuzzy things...


Lot of cats in the gypsy part of the Albacin...

----

Oh yes, after visiting the caves, and a lovely afternoon mojito, I set up to paint the Alhambra from across the canyon at sunset. Surrounded by a crowd watching that sunset. Again, Spaniards and the tourists here are awfully polite. No one interrupted me even though I was obviously positioned.

What a beautiful structure. A dream for me. Exquisitely proportioned, a fortress, a Muslim stronghold, yet still a thing of grace. We will walk through it tomorrow. Can't wait to see the details.








My friend, Mark, is cooking up some fresh sardines in olive oil and garlic as I write this. Time to refocus.

Update:



Life is good.

Thomas



- Posted from the road from my iPad

En Granada, Dia Tres...

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Got up to paint the Alhambra in the morning. Hard to do around here as you don't want to hit the sheets until 2:00 in the morning. Spain, how do you get anything done? Debt crisis? What debt crisis?
Anyway, I rolled out of bed sin cafe and set up in the Sacromonte, the Gypsy quarter where people still inhabit caves carved into the hillside. To get a good angle on the fortress. Stunning morning light. For about 15 minutes. Then the rain moved in. (sigh.)
It's plein air so you go with what you got, and I went. So here it is:

I might make it a two-fer and line up for the same time tomorrow. Depends. Saw a bunch of ropa viejo hanging out on a line on my way over to the Sacromante this morning and I may stop to paint that instead. If the wash is still out. In the rain.
Spent the rest of the day hanging out in the city. Also walked up to the Alhambra, on the opposite side of the canyon, to see if we could get in a day earlier than our tickets are for, but it was a no go. We got three different stories about that depending upon where you were in the city -- whether we could get in today or had to wait until tomorrow. We found out we had to wait until tomorrow. It's Spain. It took walking up a massive hill to get a definitive answer and even then we got two more stories. Afterwards we walked back home, down the canyon and back up the other side and I started working on a book. Yes, a book. I am planning to publish a how-to soon.
Dinner was a simple paella I cooked for the family.

Impromptu and somewhat handicapped by the lack of a proper pan and a few ingredients.( Like a lid!) But, it is a poor craftsman who blames his tools, and it is a fine one who can improvise under pressure. As you can see, there were no complaints here.

Later tonight (and I do mean late so as to avoid mobs of tourists bussed in from the hotels...) we will be back off to Sacromonte – those caves above the Darro where the gypsies live. To catch some Flamenco.
In a cave. I can't wait. I bet I can't take pictures so here, look at this...

"El Jaleo', Sargent.
I stopped by last night to check out the show. The cave will be awesome...
Thomas
- Posted from the road on my iPad


Chefchaouen, Morocco...

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(Pictured: What we christened as the Chefchaouen "Bridge of Sighs". It is right out our door and the only way for us to find our home.)

After a long day of travel we finally made it to Chefchaouen. Got up in Granada at 5:30 in the morning, got packed by 6:00, got out the door and into the car by 6:30. We had to, the express ferry that crosses the Mediterranean at Gibraltar departed at noon and we bought our tickets weeks before and were faced with a three hour drive to get to the boat. Getting down and out of Granada's Albayzin (the Muslim spelling) was crazy hairy* – made more so by the darkness and Google maps being useless. At one point Google's directions had us driving down stone steps in our rental and we didn't feel like recreating a scene out of "The French Connection" in the dark. So we backed our way out of a side street/goat path into a square. If it hadn't been for a passing Albacinian coming home from a late night we'd still be up there right now, probably wedged between some other car and the old city wall.

Once we got off the hill and pointed south towards the coast we thought we were in gravy. That is, until a massive thunderstorm hit us in the Sierra Nevadas. There were sheets of rain with lightening flashes directly overhead, while driving at 120 kilometers on wet asphalt. And it followed over us the entire way to the sea. Again, had to keep on schedule to make the ferry. Couldn't wait it out.

We made it on time -- after we wound our way around a traffic circle many many times trying to phone the rental car drop (It wasn't where google maps said it was.) Once we were free of the car we had to hoof it toots-sweet to the terminal carrying two bags each. We still had yet to confirm our ferry reservations, or make contact with the rental in Morocco on the borrowed phone. But we made it with a little time to spare. Nice

The ferry ride over was quick and uneventful and Gibraltar was awesome to see for the first time from the waterline. We blew right past it at high speed because the ferry was a catamaran. Britain still controls the rock and so for hundreds of years they have been able to shut down the entire Mediterranean with just a few high placed canons. Which kept the other European nations in line until WWII when Rommel managed to ship a few tanks over to Africa and make some trouble.

But I digress.

Once we made it onto the African continent things REALY got interesting. If there is one thing I've learned over the past three years is that if you are going to travel (and paint) you must to learn to deal with the unexpected. At this point we no longer were on a tight schedule and were just trying to cross from Spain's outpost of Ceatus, over la Frontiera, and into Morocco, which meant schlepping our gear again over the line where our taxi dropped us. (The taxi wasn't going to cross the border. No way. Too complicated.)

Just as we crossed – and I was expecting a scene straight out of "Midnight Express" for attempting to bring a huge bottle of turpentine and various alkyds across the border – a large fellow stops us. He was wearing a full on kaftan and an official-looking lanyard. He helped get us across by assisting us with our paperwork and money-changing, and finally bargaining on our behalf with a Grand Taxi, which was to take us to our destination. (At one point he actually encouraged our drivers to keep bidding against us. Wasn't sure who's side he was on in that moment but I am pretty sure we ended up with one of his cousins. Ha!) Chefchaouen was two hours up into the Tif Mountains. We settled on 220 Dinar for the driver and 10 for our helpful friend and got into the taxi.

As anticipated, the ride into the mountains was nerve wracking. I got the front seat and once we started I discovered the car didn't have seat belts available. Well, not entirely true. The car had seat belts, they just didn't work. ("Oh you no worry sir, this is a Morocco taxi. You're okay safe. You don't need no seat belts..."). Everyone in the car, including me, pretended to be asleep because that way we had an excuse to keep our eyes closed as the driver would pass anything and everything on a blind curve – cars, lorries, donkeys, old men shuffling off to prayer. When we were within five minutes of our destination we had to slowly circle around a cargo truck which had crashed head on with a oncoming Mercedes. Across both lanes. Not looking forward to the return trip.

But oh man, Chefchaouen is stunning. Everything I dreamed it would be and more. I haven't painted anything yet but it is incredible just to walk around. The blue walls, the mysterious alleyways, the people who seem to waft above the cobble stones all remind me of Sargent's Venice night paintings. Very mysterioso, Made more so by the twilight.

So hopefully, if it doesn't rain to harshly tomorrow I will have something to post. Assuming I can find an internet hook up.

It is now 1:00 am Morocco time, 2:00 am Spanish time, and 5:00 pm PST as I write this. What I really mean is it's my bedtime and I can hear it calling out for me right now. I'm beat.

So good night all.

Thomas


*So if I put together a painting workshop in Granda's Albicin, and I think I will, I am not going to let anyone drive up onto the hill. My recommendation will be to train into the city and take taxis from there. Leave the driving to the Spainards.


- Posted from the road on my iPad

Chefchaouen: Day Two...

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It's been pouring non-stop since we arrived so no painting today. But if it is still raining tomorrow I will paint from under a tarp in a restaurant. I made the arrangements this morning as we ate breakfast. The people are so warm here, unless you invade their privacy in the upper neighborhood. This I understand as it must be tiring to put up with the endless tourists marching through their streets looking in doorways, taking pictures -- oh crap, I am talking about myself.

Here are a couple photos:


Where I will paint tomorrow.




Or here if it isn't raining.




"Color cones" on a side street. That's the blue the town is painted with. The thing which looks like a Smurf hat behind my head.




One of the many locals.




A perfume shop where my wife and friend's wife went crazy. Stunning interior and much to smell.

And here are a few paintings which haven't been posted yet. Windmills from the drive down to Granada, and a couple of Alhambra paintings. ONe evening, one morning when the weather started going south.










That's all for now. Off to look for an Internet cafe.

- Posted from my iPad

Chefchaouen, Morocco, Day 3

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Still raining up in the Tif Mountains so no painting on day 3, but things did clear on day 4 and I got one off in the alleyway outside my rental during a break in the weather. Early morning because the street is only wide enough for the tiny lorries that drive through and nothing was going on at that time. Ever so, I had to pick up the easel and step into a doorway several times while I was working to let a donkey through.

Here is the painting:


My traveling companions want me to call it "Chefchaouen's Bridge of Sighs", after the one in Venice they kissed under last year. We all kissed each other under this one later today before we went our separate ways. (My wife and I are staying in Chaouen a few more days while our companions go on to Fez to ride camels out into the desert, and sleep in a bedouin tent, before flying home out of Casablanca.) I plan to re paint this scene this winter and insert figures in it so please think of this sketch more as a field study.


My view.


Up against the wall.


Some of the local boys who were very curious about what I was doing. The Koran has an edict about making images of Allah's creation and I was worried about that but I encountered no criticism. These boys were nice and respectful and helped me pack up after I was done. Mustaffa, Mohammad, Marto, and one other boy I couldnt. remember.

The walls really are that blue because of the intense color the villagers paint them. They white wash the entire town in blue powder. Here is the powder for sale in the street.


While having some strong afternoon Moroccan mint tea under a dripping canopy in the town square I asked our proprietor what was a good time of year to visit Chefchaouen. He smiled immediately and said, "Oh now is the best time. It is raining and we need the rain. The rain is very beautiful." I guess it all depends upon one's point of view, eh?

This is a tight muslim community, and while seemingly fairly moderate in its religious expression, there is a muezzin call to prayer every 4 or 5 hours from multiple minarets all over the town. There is no question who runs this place.


A native drinking a glass of what I was told was "Bedouin Whiskey", meaning Moroccan mint tea. There is so much sugar in this stuff it might as well contain alcohol. We kept skipping lunch until we figured it out: we'd been drink one or two glasses at breakfast and the sugar took us to dinner. Sheesh!

The main mosque starts up and the others follow immediately after. I never did get the schedule down but you can't miss it since there is always a minaret near you. Here is one call to prayer starting at 4:30 am. I filmed it from my roof top because I couldn't sleep. Once a call starts you see muslims running into the mosques. However, you can't see it happening in this clip because it is so dark.

YouTube Video

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Back to Spain next. To the white hill town of Ronda, where Hemingway set his novel, "For Whom the Bell Tolls". I will be painting the bridge the Spanish insurgents were thrown off of during WWII. A sad tale, but hopefully one which will remain firmly in the past.


- Posted on the road with my iPad

Ronda, Day one and Two...

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Made it to Ronda, which entailed hiring a Moroccan Grand Taxi out of the Tif mountains, crossing la Frontera, catching the express ferry out of Ceatas (Spain's toehold in Morocco) and then a train ride from Algeciris to Ronda.

Ronda is where Papa Hemingway set his novel "For Whom the Bell Tolls" and the bridge here is where the insurgents were thrown off of to their deaths. No one talks about that around here. Just Hemingway and Orson Wells, since they both came here for the bull fighting.

We missed our ferry out of Africa so we thought we were toast. But we made the train in Spain somehow. Been here in Ronda two nights and will be leaving for Madrid tomorrow morning. I get one more day at the Prado.

I had a chance to paint the Puente Nuevo, here in Ronda, as well as the old arab bridge which predates it by 700 years. Was going to paint the old Roman bridge as well (Origins unknown...) but went down with a tummy thing last night and took it easy today.

Well, Ronda Spain is going to be my first international workshop. It's all here. Access. Infrastructure. Beautiful buildings, squares, long distant views, and countryside. And chocolate. A big draw for my wife. And warm and friendly people. So next November I'll start posting details about what I will teach here...







Right now I am so beat this is a short post.

Here are a few paintings, the Puente Nuevo, and the Arab bridge. I hope to publish a procedural in an upcoming PleinAir Magazine. Specifically, the Puente Nuevo. I'll let you know when and if it happens.






Good night.




- Posted from my iPad

Heading for Home...

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Or back to that place wherever you lay your head.

Wheels up at 6:00 am. Which means taxi at 3:00 am. Another grand adventure...

- Posted from the road from my iPad

Laguna Beach 14, Day One...

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My quickDraw today. Sold.





The new happy owners Howard and Lynn. Thank you!




It's late and time for bed. Tomorrow, the Keyhole...

Thomas

- Posted from my iPad

Laguna Beach 14, Day 2

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Another day at the office...





But unfortunately, I got slammed with a nasty cold last night. A really bad one. I am n hopped up on antihistamines. Don't really feel like painting but sometimes you must.

As I often say, "inspiration is for amateurs..."

Good night!


- Posted from my iPad

Laguna Beach, Day 3?

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Again, with the head cold form Satan. And I am supposed to do a demo and talk at the end of the week. Ha!

Tonight I went down to Moss Point to paint an evening contra jour sunset. Stunning light. Another two day painting. I will complete it tomorrow night.




A few minutes into my start I get a phone call from my good friend Eric Bowman, from Portland, Oregon, who is down here visiting his family and taking his little girl to Disneyland. He's got his easel with him so he comes out to paint too.


Eric knocked out a lovely 9 x 12 as I hacked away at my 20 x 24. He really needs to get an invite to this event. He would kill at this show. He is fundamentally a SoCal painter of the old school type. Born and raised here. Plus, Eric got second place in Easton last July and best of show at Sonoma last week. He is on fire right now. And he stopped by to paint with me this evening. Nice to see him this week.

Check his work out:

http://ericbowmanartist.blogspot.com

Going to bed. More to paint tomorrow.

Thomas

- Posted from my iPad

Laguna Beach 14, Day 4?...

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Didn't paint at all this morning. felt too bad. But got up and painted the finishing touches to last night's painting. Laurie, whom I met here last year, came out and shot a few photos of me.

Thank you Laurie. much appreciated. Your pictures are quite lovely and lend a sense of scale to Moss point.


















Beautiful view, eh?

Good night...

Thomas


- Posted from my iPad

"If It's Tuesday, It Must be Belgium..."

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Well maybe not Belgium perhaps, but over the past five weeks I've felt like a ping pong ball bouncing around the western world. In the past 5 weeks I have gone from Portland to Amsterdam to Spain to explore street painting, world-class museums, tempranillos and tapas in the La Latina neighborhood of Madrid. I then drove down to Toledo to walk through what I and my friends christened as 'Venice on a Hill'; then continued on south to the gypsy quarters of the Albiazin and the Alhambra and Generalife (all located in the ancient hills of Granada) then dropped the rental car off in Algeciras before ferrying off the docks past the Rock of Gibraltar on our way to Spanish outpost of Ceuta. Then crossed La Frontera on foot into Northern Africa ("Sir! Your papers please? Business or pleasure? Very good, Mr. Jefferson!); then haggled with freelance drivers for a two hour taxi ride into the Tif Mountains to the Islamic blue town of Chefchaouen, Morocco (Where apparently hashish is legal.); then four days later haggled for a taxi ride back to Ceuta, only to miss our ferry back to Spain (Nothing to do with hashish, I promise!). I then took a train to the White Hill town of Ronda in the sun-drenched region of Andalucia; and a second train a few days later back to the Plaza Mayor for more tempranillo and tapas in Madrid. Then finally, back to my home in Portland via Amsterdam. 

After doing a little laundry I jumped into another plane and flew down to the 14th Annual Laguna Beach Plein Air Invitational to paint like a crazy man. Which apparently I am. Wow. Now I am home again in Portland resting up. 

What a world. What a world. 

So I've been living the dream – traveling and painting non-stop – but it will feel nice to be home for the next couple of months. Even if it is cold and grey around here. (I'll paint indoors.) All the ins and outs over the past 6 months have blurred together because there wasn't enough breaks in between. After a while you start to struggle with the 'If It's Tuesday, It Must be Belgium' syndrome, which I believe makes creating meaningful art more difficult. (Remember that old bedroom farce from 1968?)

This was the third time I've participated in the Laguna Beach Plein Air Invitational and because of that I felt more at home there than anywhere else I'd been during the past six weeks. But before landing at John Wayne Airport I was still working at divesting myself of a few protozoic hitch hikers I picked up in Morocco the week before. (Okay, let's not blame the goats I saw grazing on the hillside above the town's water source, or the two ladies I came across who were preoccupied with refilling the mineral water bottles I'd been ordering in the local restaurants, okay?) But no big deal. I was still up for burning the candle at both ends in Laguna regardless because that's what I do. I mean, no worries, right? I  was armed with antibiotics...

Unfortunately fate had other plans because I got slammed again with a new bug on my flight down. I must have added a flu to the Moroccan miasma because after I deplaned and drove up to Pasadena to see the Edgar Payne show it became obvious I was going to go down big time.


You haven't lived until you've signed on for one of these events and get taken down by a bunch of microbes. Paul Kratter and Randal Sexton can speak to this as well since they got slammed by a flu too.

(Pictured left: me, during Thursday's Crystal Cove Paintout, standing on a picnic table to gain a view over Larry Moore and Jason Situ. We were all clumped together, painting the Beachcomber, waiting for the sun to break. My height worked so well I did a 180 degree turn and knocked out another painting looking down the beach.)

But hey, if you go pro you get out there and do the job anyway. You clock in and push some paint round. And that's just what Randall, Paul and I did. But for me, no after-hours partying, no midday socializing, no group dinners. Just get up to paint and then off to bed. Not my usual approach. (grin)


My hosts were awesome. The best I've ever had. Greg and Lynn nursed me, propped me up, and still let me walk out the door when I probably shouldn't have. During the first half of the week, while I was still contagious, I made myself scarce so not to pass anything on. Heck, I even started taking midday, mid-painting naps, which helped a lot. 

(Pictured left: My host's 'third child' sneaking a lick of Greg's coconut birthday cake. Rosemary, it was delicious. I agree with the dog and want the recipe...)

Everyone at Laguna upped their game this year. The competition and quality was hot. There were some new faces, and some seasoned returnees from the earlier years, and it was clear to everyone on Sunday you had to work harder and paint better than ever before. As a result the paintings went up in quality and size.


And speaking of size, I was hoping to shock and awe my collectors this year by knocking out three grand beautiful paintings for Saturday's Soirée. Apparently a few other artists had the same idea because my 20 x 24s were not the largest pictures in the galleries. John Burton walked in and nailed a 30 x 30 and 40 x 30 on the wall. (Geeez, John, maybe you could let me know the next time you plan on doing that? Ha!) And congrats to John on being honored with three -- yes, three -- major ribbons. Well done and well deserved. I should also mention Billyo walked in and hung a big painting himself, a painting that had so much paint on it I wasn't sure the wall would hold. (kidding...) Billyo's won Best of Show with that painting. It was thick and juicy.

(Pictured left: Me doing a little clean up in my host's driveway because I felt too icky to play outside.)


So clearly, now in Laguna you go big or you go home. Next year I'll bring the 'manEasel' down. (Just talkin' a little trash, trying to get into Ken Dewaard's head a bit.) What's next? We gonna invite Tim Bell to the party in 2013? If we do we better be ready for something monumental.

(Pictured right: me, Morgan Samuel Price, and Ken Dewaard during the gala Soirée, contemplating whether or not to join the Mormon Church because they have so many gosh darn good plein air painters. While drinking martinis. So we probably wouldn't qualify...)

Here is a clip from the Sunday QuickDraw Silent Auction, when every painting sold inside the hour. It was a Collector's Flashmob. Just like old times...




And here are two new collectors who purchased my Sunday QuickDraw. 
(The painting can be found below)



Howard and Lynn were great. They kept checking my blog every day to find out where I would paint and showing up to say hi. Thanks for the photos, Howard!


Well, in spite of becoming an international petri dish during the week I had a fantastic time painting in the Californian sun. The Laguna Beach Plein Air Invitational is always fun and this year everything felt like an awesome uptick. Plus, I had the terrific sales this go-round. I had been prepared to ship a lot of (big) work home last Monday but hey, it turned out I didn't have to. Nice. A huge thank you to all my collectors who came by this year. Thank you for your support!

And also, another big shout out to all the LPAPA and Laguna Art Museum staff, and all the volunteers who made LBPAI happen. None of us painters could have done our jobs without you! You never receive enough recognition.


Here are the paintings from the week:



"Monument Point QuickDraw"
Laguna Beach
oil on panel | 9 x 12 inches
SOLD




"The Golden Hour, Crescent Cove"
(near Laguna Beach)
Oil on panel | 20 x 24 inches
SOLD


"Through the Keyhole"
Montage
oil on panel | 20 x 24 inches
SOLD


"Shimmer & Glow, Moss Point"
(w/Catalina on the horizon)
oil on panel | 20 x 24 inches
AVAILABLE
$3300.00


"The Beachcomber, at Crystal Cove"
oil on panel | 9 x 12 inches
SOLD


"A Walk on the Beach"
Crystal Cove
oil on panel | 9 x 12 inches
AVAILABLE
$850.00


"A New Day, a New Dawn"
Easton, Maryland
Raymar Art Contest Finalist
oil on panel | 12 x 16
SOLD

And finally...

I also sold a 2011 study of the Great Stone Church of San Juan Capistrano during the Sunday pubic sale. It was a 20 x 16 inch painting, oil on panel.

Unfortunately, I don't have a photo of it, either from last year, or this one. (Stupid me!) So here is a little clip of me painting the larger one in the field. This bigger one is still available if anyone is interested in collecting it. Just hit me with an email...





All in all it was a fantastic event. Despite going down sick I had a wonderful time and sold a lot of work. I hope to be back next year!

For a list of the award winners and an extended slide show from the Laguna Art Museum, click here.

Thomas

Yippy-Ti-Yi-Yay, I'm Ridin' Back in Town...

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"Roudy's Riders, 4th of July, Telluride"
Private Commission

Okay, I admit it. I've been AWOL from the blog for a while. I was burned out after coming home from Spain, Morocco, and the Laguna Beach Invitational and I needed some time to recharge.  I haven't been sitting around in my PJs, flipping through daytime TV or anything, I just had some long delayed personal business to take care of and wanted a break.

Oh yes, I started writing a book.

I am writing a book on oil painting. It's not like there aren't already enough how-to paint books out there but this one will be mine, based on almost twenty years of teaching drawing and painting. It began as a quick and dirty bang-it-out procedural – something I thought I could knock out in a couple of weekends – but I felt guilty about taking that route and now it has ballooned into something more encompassing. I can't call it a how-to plein air painting book anymore. It crosses too many genres. So I have chosen the theme of controlling your color and the direct method of oil painting, although I don't seem able to stay on those topics either. I keep wandering off into practical color theory for artists, general art history, advanced materials and techniques, tips for painterly drawing, and managing a collector-base. But man I am having fun!

I dunno. Clearly I'm a bit ADHD.

Anyway, I'm almost finished with the first draft and will soon send it out to a few artists and conservators I respect for comment and mark-up. I also plan to post an excerpt or two on this blog in December. So I had better get busy knocking out the graphics, illustrations, and demos to support the text over the next few months. Hopefully thing will see the light of day in Spring. We'll see.

If any of you readers have a topic to include, or a question you want answered by this book, shoot me an email. I'm not running short on the word count but there is always room for more if I believe it will help the reader.

Email me your thoughts here.

And finally, I will post two indoor alla prima workshops next week. The first one will be taught in Southern Oregon in this January. The second one will be taught in Portland, Oregon, in early March. I've also been asked to teach a couple more down in Southern California but they haven't been put the calendar yet. So check back here next week. All classes will be limited to 12 participants to guarantee quality one-on-one time with the instructor.

It's good to be back in the saddle again...

T


Train wrecks, Car crashes, and Paintings in need of Triage...

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Detail from "The Gross Clinic" by the 19th century American painter Thomas Eakins. 
The entire painting may be viewed below the fold, but I warn you, it ain't for the faint of heart...

Yesterday I announced I've been working a book about painting and asked you what you would like to read about. I was surprised by your immediate response, and again by a few of your suggestions. I was anticipating questions such as "What brush should I use? How do I handle wet paint? How do I avoid mixing mud?" And even, "How can I paint a masterpiece?" But the question raised most often was, "How can I save a painting when it's gone horribly wrong?"

Right. How do you revive a painting when it appears to have died on the easel? That does sound like an interesting topic because I can think of many reasons for why it would happen. I'll see if I can work it into the book somewhere. Maybe doing so will offer a fresh perspective.

Of course it would be tempting to say "The best way to keep your paintings from going horribly wrong is to read my upcoming book." But that would be too self-serving and not very honest. I find myself crashing and burning all the time too. So maybe I'll add a chapter on how to salvage a painting, and when to accept your masterpiece is dead on arrival. I'll even use a couple of my own paintings as examples. I'll take a few of the bombs buried in the racks and we'll see if they can be resurrected. I'll be sure to shoot a few before and after shots, like a TV beauty make-over.

However, I should admit right from the start my usual way to deal with a failed painting is to abandon it and move on.It is possible to look at your failures and learn from them but converting a failure into a success is unlikely. The back of my painting racks are filled with train wrecks. You just don't get to see them. I've learned from first-hand experience if you keep poking at  one it is more likely to become a pit of quicksand than not. You might think you are digging yourself out but in truth you are still sinking. Better to start a new train wreck, er... another masterpiece.

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Anyone else out there like to offer more suggestions? They've all been good. I now have a folder set up to receive all the emails coming in so fire some more at me by clicking here.

Thomas


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And here is the painting "The Gross Clinic" in its entirety.  Click on it if you want to see it enlarged. It's one of Thomas Eakins' masterpieces.  But think twice before zooming into the patient because it is kind of gross. Eakins painted it from life.



Announcing a Winter Portland-area Alla Prima Painting Workshop

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Announcing a Three-Day Oil Painting Workshop:
Essential Alla Prima Techniques: Portland
Using the Direct Method of Oil Painting


"Peonies and Ginger Jar"  |  2012 American Impressionist Society National Juried Exhibition
















Instructor: Thomas Jefferson Kitts

When: March 1st - 3rd, 2013  (F/S/Sun)
Where: Sowa Studios, Portland Oregon
Class Size: Maximum 12 participants
Cost: $400.00

For more information or
to register for the class click here...


This indoor workshop is for anyone interested in learning about the time-honored technique of alla prima painting. (Alla prima means to start and finish a painting in one session.) Some experience with oil will be helpful but is not required. If you have a question about your skill level or whether or not this class is appropriate, contact the instructor to discuss.

Your three days of instruction will focus on how to handle wet-into-wet paint, how to mix the color you need, and how to create a dynamic composition by dividing your painting's values into two masses of light and dark. You will also learn how to become more expressive by editing out extraneous detail and using more paint. What you will learn from Thomas' workshop can be applied to any subject matter or genre – be it figurative, still life, studio or outdoor landscape painting. Your instruction will be tailored to fit your present ability but with the intent of taking you further.

Thomas will offer two demonstrations and help you complete four paintings during the class.


If you've ever wanted to learn how to paint alla prima in oil sign up now!


This Portland-area workshop will be capped at 12 participants.


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Here are some reviews from folks who've taken a workshop from Thomas:

I can't say enough positive things about this workshop. Thomas you are a fountain of knowledge and you pour yourself out to be picked up at a fast pace. I'm still processing the information offered. Thank you for always finding something nice to say about our work, and thank you for correcting with kindness. I learned sooo much. I hope to sign up for another workshop soon. 

Tim 


Thank you, Thomas, for a workshop with no fluff. I appreciated the challenge of looking closely at chroma, hue and value (especially value.) The still life setups were sumptuous, and the model was probably the best I've worked with. The class was a harmonious bunch, just the right size. Your explanations and demonstration were well prepared to help us understand complex theory in a short time. Thanks for an inspiring three days.

Yvonne


Just a note to tell you thanks for a fabulously informative Alla Prima workshop.  You are a  fountain of knowledge and it's apparent how much you really love to teach. (As if I didn't already know that.) I came away with a confidence that I can mix oils to accomplish much on the canvas, now all I need is 48 hours in a day to paint!   Oh, and you should call your workshop Alla Primavera because you get a LOT more than you pay for.  So, go ahead and raise your prices, you deserve it!

Brenda


Anyone considering it should take his class. Thomas is an awesome teacher. I still can't believe how much I learned from him in a week.
Mary
As a beginner, I probably had a lot more to learn than most fellow artists in the class. I did not, however, feel out of place or inferior to the rest of the group. Art is learning no matter how good or how much knowledge you already have. Thomas, you are a great teacher with a great deal of knowledge, enthusiasm, and energy. We worked hard, got home tired, but enjoyed every minute of it. 

Herb

Thanks again for the workshop!  I loved your enthusiasm and positive attitude, and am in awe of your expertise. I had dozens of 'aha!' moments during our time together and learned more about color from you than I have from any other source.

Sarah



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