From the Back Burner

Tomorrow begins a 30 paintings in 30 days challenge. For artists reading this who would like to join in, here is the link.
http://lesliesaeta.blogspot.com/
I am typically a slow and thoughtful painter. I build my studio paintings up in layers,scraping off and adding until I get the effect I'm after. Even in my plein air works, I'll return to the site as many times as is needed to finish. Or, if the painting won't benefit from a return visit, I'll finish it to my satisfaction in the studio. The painting below is an example of that approach.

October Gold- 16x24- oil on canvas
to purchase, contact Patina Art Gallery- 215 327 7387

To paint 30 paintings in 30 days means a complete departure from my usual working method. Will I have to work smaller? Sketchier? Faster? I don't know. I do know that I'm going to use this opportunity to explore ideas I've left on the back burner. Photos I've taken that I thought might make a good painting and then forgot about, are on the easel. Paintings I've started then set aside are also candidates for the challenge. Finally, those interesting spots I've driven past so many times and thought someday...
So, starting tomorrow,  these paintings will appear daily on this blog and on my website http://www.theresagrillolairdfineart.com. For the month of January they will be available for purchase. After that, who knows.  

What is a Plein Air Painting?

"Plein Air" simply translated, means painted while out in the open air.

Artists have always painted and sketched outdoors but these works were traditionally thought of as studies for larger studio work. The French Impressionists were among the first to present their outdoor works as finished pieces. Their aim was to portray modern life in all it's immediacy.

I am a plein air painter... or so I thought. I've been painting outdoors for years. So, lately I've been surprised by a new and more rigid definition of plein air and by the vehemence of those who insist on only this definition. Plein air "purists" maintain that a work has to be completed rapidly outdoors with little or no revision back in the studio.
It's interesting that past artists both here and abroad who made the plein air movement popular, never imposed that condition on themselves. They didn't find it necessary to place limitations on their working method in order to feel that their outdoor work was valid. The point was to produce the best work possible.

The plein air movement is stronger than ever today. There are legions of artists who can paint a scene in 2 hours or less and some people would argue that this ability is a sign of their talent. Often, the results are beautiful. But equally often I'm left wishing for those further touches of paint that earlier artists had no problem adding if it aided their painting. I think the unique and recognizable styles of these earlier artists is partly due to the fact that they painted as well as they could indoors and out with no thought to what critics might say about how they arrived at their results.

What do you think determines what a plein air painting is??