Wednesday, May 7,1980

TTie Herald and The Lantern

Mrs. Romans To CAPE MAY - The final meeting ofthe season of the Art Department of the Women's Community Club will be 2 p in..‘May 8 in the Graylone studio- home of Mrs. Robert Ridpath, Cold Spring. jTJ»c.program will be a inustefle in hon'jr of Mrs. Charles Roman;, former chairman of the Art Department and donor of

Be Honored' the Art Lecture materials consisting of paintings of artists from America, England, Italy, Germany, France and Holland. A plaque of appreciation signed by the members of the Art Department will be sent to Mrs. Romans, who is now in the tathern Home. Friends are welcome to Join members at the meeting.

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PAINTING' from.'trie ground -d*. tkcrytcrtuj'

The site selected for a recent oil painting is towards a brace of trees just off the Col. Bell Causeway, Avalon. This spot has been noticed by this artist thousands of

can be either immediately captured, remembered or ignored. THE FIRST decision to be made on this surface was the marking of the horizon which places the

times and recorded in a few sketches made with Ink, camera and pencil. The decision to experience it through oil paint meant a deeper involvement due to the nature of the material which is so expansive as to make it descriptive of any vision, and in full color. The appearance of a painting is bas&l on the artist's direction!! go to a spot looking for form and color. I try to se4 the line, shape, and hue .which gives each thing its identity and yet Me* it in with the whole picture. FROM THE beginning I look for the broadest shape, the longest line, the most intensely pervading color. These three elements are the backbone of the whole piece, and if they are ^en. the rest is play. By choosing a small canvas, 16 x 20 in., I hoped to have a workabie surface which could be covered in one session though not necessarily finished. When painting out doors, my sessions are limited to about three hours since that is about the amount of time it takes for the changing light to create another picture. More subtle changes of light, of course, happen from moment to moment. These

viewer’s attitude while determining the skyground relationship. Since I intended to feature a mound of trees rising above a flat landscape, I opted for a low horizon. The mound of trees was then placed as a wedge against this, setting the scale and composition.. The idea of marking down v as much information as possible within a span of time perks up the pace a bit, contrasting with studio painting which holds hourt of looking, thinking, reworking. PAINTING IN changing setting calls for thinking fast\ or simple reacting. Basic colors might be set but on the palette beforehand with a few back-up tuMs on hand. With a few Meaningful beginning strokesuo set the composition and \the key lines, colors can tie mixed as you go, draw ig with each stroke. ,In this setting at this hour, looking nirthwest, the trees are li almost from behind givir g them a silhouette appearance against the sty. The shadows falling] on the ground describe in big, simple masses the contours of the land. By using a hue which works as an allpervading shadow color, these lines and stiapes were

put down with controlled strokes THE ARTIST learns from Nature that each stroke must relate to. the whole picture Nature is composed of an infinite number of strokes. A painting is composed of the number of strokes placed there by the artist There are some techniques of painting where it is desirable to eliminate any evidence of these strokes For this artist, that would he hiding her light under a bushel. Each stroke has its own power within its color, length, thickness, direction and placement LONG. FLAT brushes are useful since they .have extensive capabilities. By varying the grip on the brush, by turning It, by using light or heavy pressure, by dabbing 1>r dragging the brush, by using a loaded brush or a touch of paint on the tip, one can create a stroke to match the vision. The strokes can sit side by side like puzzle pieces, or overlap, glaze or blend with other Strokes When the canvas is

covered and the strokes organized, the painting is considered finished. When the artist has a clear vision and a direct approach, the rplrit of the subject will appear \ Mgralft]

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