Saturday, September 25, 2010

Boat Painting



Painting boats en plein air, its tricky. The boats move, the light changes, there is always distractions from curious bystanders who are fascinated and want to chat, the schlepping, the bugs, I always forget my visor and sunblock. So many things to deal with, so little time to work with before the light pattern has changed completely, about 3 hours tops. However all these factors put together make for a painting that communicates a bold, immediate reaction to your subject matter which is hard to simulate in a controlled studio setting. Your color, values and drawing decisions have to be quickly calculated and ruthlessly executed - no time to waver. Get it right - now - and move on quickly.
I discovered a marina in Rye, New York yesterday at about 3:45. After getting permission to paint there, parking, setting up my easel, putting out the colors, brushes, doing a quick sketch etc, I was ready to roll at about 4:30. Minus about 1/2 hour of chat time with some local boat owners who kindly offered me beer, water, and a sunset boatride, the painting was done at 6 PM. Just in time to enjoy that sunset cruise - which departed about 10 minutes prior ... next time!

Rye Marina SOLD
12x12 Acrylic on Canvas

3 comments:

Angie said...

Hi Patti,
What a pain in the butt, but what a magnificent piece. I love your chunky strokes, did you ever do any clay medelling? It looks like it.

I've joined the ranks of the cult of painting a day and blogging about it. Already have a venue . You should check out Duane Keiser, perhaps you already know, he started it all and auctions a 3 x 5 inch painting at 700 minimum. No doubt you already do a painting a day.

I love that they offered you beer and a sunset boat ride.

patti mollica said...

Hi angie - i probably did some clay modeling when i was a kid, but nothing recent. Maybe what you are responding to is my interpretation of structure via color- and the Henry Henche philosophy of every plane change of a form having a different color. I try to paint things structurally, and depicting the form changes as color changes. Maybe thats why I'm more attracted to geometric architectural subjects than soft, organic subjects with edges that blend into each other. As you can probably see, I'm not much of a blender - i prefer to use color to transition from one plane to the next rather than softening the edges. color can communicate so much...

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