Breathing Color

I’ve been excited about creating more impressionistic, even semi-abstract landscapes lately. A foray into sharper lines and brighter color. Diverging from true photographic reality. While I’m still creating plein air paintings that are more realistic, my heart yearns for contemporary minimalist and abstract. So, I’m combining the best of both. I’m now breathing color. Here is one of my new whimsical landscape creations:

The Hill 16 x 20 (c) Mary Hubley. Available.
The Hill 16 x 20

— Mary Hubley

Plein Air Season in Florida

By the end of May, Florida gets hot. Week-long organized plein air events aren’t even offered during the hot months, and the most intrepid plein air artists migrate northward to paint in cooler climates. I’ll still sneak out to paint with my local group occasionally. But mostly during the warm months I  morph into a temporary hermit as I duck inside my summer studio cave.

But oh, while the weather was cooler, I created some awesome paintings out in the marshes and in the oldest city.

Flagler Beach Paintout

Water Reflection painting
Still Water Reflections 12 x 12

I was honored to take first place in the Flagler Beach paint out with my painting, “Still Water Reflections.”

It’s always a surprise and delight to receive recognition, as there are many talented painters out there. I kind of float on a cloud for at least a week after a win. This was painted at the side of an alligator-filled marsh, under clear skies and a sizzling sun. Thank goodness for thermos bottles of ice water.

 

 

St. Augustine Paintout

A couple of weeks later, I participated in the St. Augustine plein air paint out. The city was energized by over 50 artists who painted the scenic streets and historic buildings. I managed to finish these three little paintings. The last one, Quiet Pathway, came home with a lovely award from the St. Augustine Art Association.

— Mary Hubley

Quick Demo: Village House Study

Last week, I painted in the gardens of the historic Fatio House in downtown St. Augustine, Florida – a museum surrounded by beautiful Spanish Colonial-style buildings. I often paint small when I’m in the field to get the basics quickly. If I like the painting after I get back to my home studio, I’ll often repaint it in a larger size. Here’s my progress on a tiny study:

1. Here’s my paint box and plein air gear sitting in front of a Spanish Colonial building.
2. The building is located on tiny Aviles Street, in downtown St. Augustine.
3. I started by doing an initial quick sketch and then blocked in the main shapes. I did this in about 2 minutes.
4. Then I added color – which was way too bright. That doesn’t matter – I can always dull it down later, but at this stage I just wanted to plan the main color scheme.
5. Fixed! The colors are better, but not perfect yet. Toned down. But there were still problems. I wasn’t pleased with the placement of the building, the contrasts, or the colors. I packed up and went home.
6. Back in my studio, I sat with a glass of wine and thought about what it needed. I removed the building to the left, moved the little house over, changed the colors and details, and finished the trees. Yay! Happy with the finished results!

Trees in the Breeze

I’ve just created a lovely group of minis – small plein air landscape studies of trees in the wind. More impressionistic than abstract, these trees have a soft energy, blowing leaves and shimmying, dancing in the breeze of the day. It’s been quite a nice winter in St. Augustine, Florida and I’ve been out and about doing these quick landscapes more often.

These landscapes are small – 5 x 5 inch studies, and very affordable. They are for sale online at my daily paintworks page.

Fun in the Wind

Changes… While my roots are in soft impressionism, I’ve been going in the direction of abstract for years. I’ve always appreciated and used techniques of abstract landscapes – painting very high horizon lines, graphic shapes, and unusual compositions. But recently I took a surprising leap into exploration of more abstract forms.

I’d gotten into a rut. Take trees, for example. I’ve done lots of plein air painting, and trees are always there. Trees and more trees. Again and again. They’ve become, well, boring. I desperately needed to find something different to do with trees.

Breakthrough: Out by the marsh painting with friends. I didn’t want to paint another marsh scene. Not another tree. I sat there. I couldn’t paint it. I was frozen in my painting chair as I gazed out on the familiar scene. Then, the trees moved in the wind, as if to say, look again. That moment, I started to really see them. Something changed.

My hand started moving on the canvas. The trees were moving. Fun. I gave them a party. That day, they threw confetti into the wind. They stretched. They danced. And my whole world shifted into something different. I’m seeing in semi-abstract now. And the fun begins again.