Solo Show, New Masters Gallery

It’s time for my annual show at New Masters Gallery in Carmel , CA. The show officially begins on the 24th of October with a reception at the gallery from 4-7pm.  This year the show is titled “California Jewels”.  The show will consist of mostly smaller images ranging from 7 x 9 to 16 x 20 but I will have a few larger pieces including my largest piece at 24 x 72.  The piece I just completed today, “Evening on the Pacific Flyway” (See Below) will also be featured. (I just hope it’s dry in time) If you get a chance I hope to see you there.  If you do drop by be sure to introduce yourself.  The show can also be view online at NewMastersGallery.com.

Evening in the Pacific Flyway, 24 x 30, Oil on Linen

Central Park, New York City

I visited Central Park for the first time several years ago and ever since then I knew I had to come back for the specific purpose of painting this “American Masterpiece” created by Frederick Law Olmstead and Calvert Vaux in 1853.

We arrived to partly cloudy skies and the forecast didn’t promise much better.  I planned spending my first full day scouting out areas, getting my bearings and taking photographs. When I left the hotel I found cloud cover over most of the southern half of the park. It was a short walk, 2 blocks from our hotel, in the area surrounding the south eastern part of the park.  I spent the morning chasing the sun with my camera.  I was gitty.  I was finally back in this beautiful park. The sun only lasted about 2 hours and then hid behind the clouds for most of the day.  I would spend the rest of my day with my wife and close friends seeing the sights in the Soho district of NYC.

The next day was about the same, as well as the next few days.  I could tell there would be no time to paint.  The clouds moved every morning right around 10am.  In situations like this I have to make a decision: either to paint for 2 hours and get 1 painting or spend that same amount of time gathering reference material in the form of photographs for possibly 5 paintings.  It was an easy decision, take the photographs and soak in the essence of Central Park.  The essence of a place is important to me when designing a painting.  What makes Central Park, Central Park? For me it’s the American Elms, the park benches, meandering paths, black lamposts, intimate lakes, the lawns and, of course, the people strolling their way throught the park.  For me the best part of the park are the bridges and arches.  The park has 39 bridges and arches and no 2 are the same.  These are the elements I hope to capture in my paintings of Central Park.

We spent a lot of time taking in the sights of NYC.  We strolled around Soho, Greenwich Village and even the Financial District. We ate great food every day and had a few drinks along the way.  One place that must be experienced is PDT (Please Don’t Tell) It’s hard to describe this hole in the wall bar with it’s very interesting drinks, dark atmosphere and creepy taxidermy.  You get to the bar through an old telephone booth inside Crifs Dogs in the East Village neighborhood of NYC.  You have to know it’s there.  There are no signs marking it’s existence. It only holds about 20-30 people and reservations are highly recommended.

I was disappointed at the amount of clouds I encountered during my stay in New York City but I suppose it’s to be expected in late September, early October.  I ended up getting a large amount of reference material along with my memories to complete many paintings.  I plan to exhibit these paintings early next year. I’ll also post a few here and on my website along the way.

Stay tuned.

Bethesda Fountain, Central Park

Familiar Signs and New Inspirations

As I’m sure you’ve all noticed it’s been a while since I’ve posted anything new here on my blog.  I’ve been working hard for my upcoming show at New Masters Gallery which starts in October.  It seems like a ways off but sure seems to be approaching quickly. While preparing for this show I had a mini creative block.  These never feel good and I always wonder how long it’s going to last.  It’s a bit unnerving to have this with a major show on the horizon. So last week I took off for a couple of days to the northern California coast around Mendocino to get inspired.  It’s an area I haven’t visited for years.

As I made my way up Highway 1 a few familiar, but not welcomed, signs appeared. “Private Property, Keep Out”, Private Property, Do Not Enter”. I can’t tell you how many countless miles of beautiful California coast line have these unwelcoming signs attached to miles of fences sometimes “barbed”, many of which not only block the access to the coast but the view entirely.  Oh how I desire to experience what the early California painters experienced as they searched for locations to paint.  Fences were far and few between.  I’m sure they had the freedom to paint wherever they desired unencumbered by nasty signs and miles of unwelcoming fences. In our overly litigious society these days are far behind us.  It’s unfortunate that these views can only be enjoyed by landowners fortunate enough to own such beautiful property.  I’ve come across a few of these landowners and must say that there’s a few willing to open up there properties to allow others to share in their blessings. But I’ve also met others who want nothing to do with you, they simply want you out and to be left alone, meanwhile those views are wasted on the selfish. I’ve had these experiences not only along the coast but throughout California.  Whenever property owners invite us onto their property we must remember to be thankful for these opportunities and to be respectful.  These opportunities are becoming fewer and fewer.

OK, enough of my rant. After all, I did have a good time.

I arrived in Mendocino in the early evening and decided to continue my drive north towards Fort Bragg.  This was a scouting trip, not a trip be used to paint on location.  My desire was to see as much as I could and to take as many reference photos has I could. To be inspired by many different locations. As I drove north, the skies had those high thin clouds that just kill light.  I was able to get a few good shots north of Fort Bragg but hoped for better weather by dawn.

Dawn did not usher in better weather.  For the most part it was clear, but there was a thin strip of high thin clouds right where the sun was rising, not good.  If the sun rose just a few degrees to the north or to the south it would’ve been great. This cloud seemed to follow the sunrise for the next 2 hours as I drove south. But things would improve, I finally reached a section of coastline that was bathed in light, YES!    I even reached a portion of the coast towards Fort Ross that had some great low fog that created amazing filtered light. I worked my way further south into Bodega Bay and the coastline of the Sonoma County coast.

It turned out to be a very inspiring road trip.  My goal over the coming days and weeks is to create paintings that may be viewed in my upcoming show at New Masters Gallery.  These painting will consist of not only the coastline that I witnessed but the moods and feelings I experienced along the way. Landscapes that may not actually exist, but images that take us all back to memories we’ve all had enjoying the beautiful California coast.

And by the way, my mini creative block seems to be gone.  I know it’ll return someday, it always does.  When it does it’ll be time to hit the road once again.

This is one of studio paintings from this trip.

Sonoma County Coast, 20 x 16, Oil on Linen

If you have any stories of fences and the dreaded “Keep Out” signage I would like to hear it, feel free to post it on the comment portion of my blog

2009 International Masters of Fine Art, Greenhouse Gallery, San Antonio, TX

I’ve posted 3 paintings which will be exhibited in the 2009 International Masters of Fine Art Show at Greenhouse Gallery in San Antonio, TX.  It’s an honor to be invited to participate in this very prestigious event.  The show can be viewed on line beginning September 18th and the show is open to the public beginning October 2nd.

Sheep in the Setting Sun, 20 x 16, Oil on Linen

While We Slumber, 14 x 20, Oil on Linen, SOLD

Slopes of the Minarets, Iceberg Lake, 24 x 18, Oil on Linen

Days End, The Progession of a Painting

Many people have always enjoyed my process for painting so I’ve posted a series of images showing the progression of a recent painting.  This particular type of painting with it’s moody feeling are most often created through a process of composing. I bring elements that I’ve seen on my travels and experiences together to create works that are uniquely original.  Some of the most important elements in these pieces are the shapes and very close hues, values and temperature shifts.  I’ve explained each step of the process below.

Step 1:  The first thing I do is create the basic shapes of the image using a mixture of Sap Green and Alizarin Crimson. This mixture of colors is very dark but transparent and extremely rich in color. It’s important to create shapes that are interesting.  This is the case for both the positive and negative shapes.  Once I block in the shapes I take a Q-tip and begin to remove some of the paint to reveal the form of the objects.

Step 2:  I then begin to add the color to the forms. It’s important to keep my color values very close and temperature shifts slight.

Step 3:  I continue to add colors to the forms as well as the foreground. Notice how close the values remain in the forms.  The contrast will come has I paint the sunset sky later in the process.

Step 4:  I now begin to block in the sky using a very warm mixture of paint.  Though these color may appear bright they are actually quite grayed down on my palette, almost muddy.

Step 5:  I continue to paint the sky and add the sky holes in the trees. This is where the most pure color will be found. These sky holes will be softened as part of the final steps in the process. Tree holes are often used to create trunks and branches.  This technique is used to create a more natural and believable tree.

Step 6:  I continue to adjust the colors of the sky and add the sun.  Foreground is being refined. Colors of barn are refined.  Values are still close on all the forms allowing the light behind the trees to play the major role in the piece.

Step 7:  Edges  in the painting are softened, especially sky holes in the trees as well as the edges of the trees and barn.

New Painting: Fog on Pebble Beach

Just completed my largest painting to date.  The piece is titled “Fog on Pebble Beach” and it’s 26 x 72.  The challenge with this piece, or any piece that has fog or low light conditions, is making sure the painting has life and depth. As landscape artists we are always trying to capture light, it’s what often draws us to paint any given scene. We wake up in the morning hoping for light. We’ll drive for hours looking for it, sometimes without success. We’ve chased it around like like a dog that has our shoe. The fact that light is present gives the landscape depth and can provide a palette full of rich color. But what happens when direct light is not present? Should we keep driving? Move to the next spot? Maybe we should get our gear out and give it a go. Be challenged. Let’s not miss the beauty that’s right in front of us. I look forward to these opportunities. As many of you know, I love moody paintings and fog is the perfect opportunity to “get moody”.

I was drawn to this scene in Pebble Beach by the long horizontal  lines of the rocky coastline and the strong rich color found in the weathered, sea-battered rocks. Fog almost always has a sense of peace, quiet and calmness and it’s what I’ve tried to capture in this piece.

Fog on Pebble Beach, 26 x 72, Oil on Linen

New Paintings

It’s been a good week of painting.  I’ve been working hard for a few shows that I having coming up later this summer and fall.  Some of the smaller works may be larger paintings for my annual 1 man show at New Masters Gallery in October.  Selected pieces are posted here as well as my website.  More information for the shows can be found on the “Events” page of my website.  All of the new paintings are available from my studio until it’s determined which show they’ll be a part of. If you have any questions about these paintings please let me know.

Coastal Dunes, 12 x 12, Oil on Linen

Evening Sentinels, 16 x 10, Oil on Linen

Official Artist, 2009 Art Auction at Sunset Center, Carmel

I recently had Sunset Center, in Carmel, invite me to be their official artist for Carmel Treasure: Auction for the Arts. This event will benefit programs at the Sunset Center and the overall art climate in Carmel.  My painting “A Day on Carmel Beach”, will be used on all marketing materials including the event poster.  The image will also be reproduced in a limited edition print that will be available at the event and the original painting will be part of the live auction. 100% of the proceeds from the poster, limited edition prints and the original painting will benefit the Sunset Center.

I am very honored to be a part of this event.

If you have any questions about this event you can contact Sunset Center.

A Day on Carmel Beach, 16 x 20, Oil on Linen

I’ll also have a number of other paintings available through the auction as well.  These paintings will be part of my 1 man show at New Masters Gallery in October.

A Crossroads

I’ve been getting a few requests to talk about a change of direction I went through in 1998.  So this is what happened.

Prior to 1998 I was known for my detailed wildlife and landscape paintings. I was in a few galleries and beginning to get a descent reputation for my work.  But something was missing: Passion and energy in the work.  My work was full of detail.  I tried to capture every hair, every leaf and every blade of grass.  It was very tedious work and work that I really didn’t enjoy deep down inside.  This was the way I had been painting and approaching my art since I was in high school (I graduated in 1982).  I thought this was want I wanted. I was also very close to being published by a limited edition publisher. They loved my work but kept asking for more and more detail. So back to the studio I went, to give them what “they wanted”. But it never seemed enough. On one evening in early 1998 I had, what I thought, was the painting they were looking for.  It had all the detail and mood they wanted in my work.  I decided to take it to them to to get their feedback, I was very hopeful. I still remember their response, they really loved the painting but “it needed a little more detail”. How disappointing!

On the way home I thought a lot about what just happened and what I really wanted for my art.  I was tired of “detail”. I was tired of not being happy when I painted (just ask my wife, she’ll tell you.) I was not pleasant to be around.  I needed a change, my family needed me to change, but what.

I was extremely blessed to have a great high school art teacher, Bill Rushton.  He had the ability to teach what ever I needed and wanted to learn regardless of medium and style. For a number of years he had tried to get me into this thing called “Plein Air”. I had no interest at all. Painting that loose never excited me, until now. I was ready for a change and I was at a crossroads. Would I stay miserable and stick with what I knew or would I take risk and head for the unknown? The answer came the day after I received the dreaded “it needs a little more detail” words from the publisher.  When I got home from the publishers I decided to frame the painting that “needed a little more detail” and hang it in my studio has a reminder of what “not to do”. The next day I got rid of all my acrylics, all my little small paint brushes; everything that had to do with this type of painting.  It was all gone. This change was literally taking place “overnight”. It felt like a very risky thing to do.  After all, that style of painting was what I had been working on since high school, I knew nothing else but I also knew I wasn’t happy. I called Bill Rushton that same day and asked if he would take me out to show me how to approach this “plein air thing”.  I also need a list of art materials. I needed everything: brushes, paint, terpenoid. a pochade box (what’s a pochade box?). It was exciting and a little scary to say the least. I was headed for the unknown.

He took me out painting a few days later ( I had never been “out” painting). We went to Half Moon Bay and painted in the little valley that leads out to the coast. We set up and began to paint. He picked out a brush size that he wanted me to use for the whole painting(it was alot bigger than what I was used to). He also gave me a time limit, an hour and a half.  It was a huge struggle. I had to throw away, no, put aside, most of what I had learned over the past few years. I was slopp’in paint around, swatting bugs and trying to keep my easel still in the breeze.  This was all so new. I’ve never had to deal with these issues in the comfort of my studio. I finished the painting about an hour and half later and let me tell you, it looked awful. What was I thinking? Did I make a huge mistake? the detailed paintings weren’t so bad, right? But one thing I noticed that day, I had fun! I felt alive.

I still have that painting today. I pull it out every time I teach a workshop. It’s a reminder to me of a risk I took to feel alive and to feel passion for what I do.  Needless to say that little painting changed my life. I continued to paint outdoors and paint poor paintings but overtime the paintings improved.  Over the past few years I was able to developed the style you see today.  Those days of painting detail were not wasted days. They were an important part of getting me to where I am today.  I still consider myself a realist painter but don’t have the need or desire to show my viewer every little detail.  It’s good for the viewer to fill in the blanks and become part of the story of picture making. Today I still try to stretch myself as a painter, I’ve started painting still lifes.  Yet another risk, I’m known for my landscapes. What will my galleries think? What will my collectors think? I’m not sure, but I know I’m happy painting them. It keeps me fresh. I also have the desire to paint city scenes.  In September of this year I’ll have my chance.  I’ll be traveling with my wife and 2 close friends to New York City to paint Central Park and the surrounding city. I can’t wait to make a mess of it and learn a little something new.

We must never be fearful of change, it’s what takes us to the next level….who knows we might just like it there.

New Website is Live

My new website is officially live.   Thank you Kevin Athey for all of your hard work to make this happen.

I would really enjoy hearing your feedback on the new site, especially things that would make visiting the site more enjoyable. One of our major upgrades will be the fact that we’ll be posting new paintings has they’re completed. For example, I just posted “Ole Miss”. She can be found on my “Works” page under the subset titled “Other”. Enjoy.

Ole Miss, 14 x 16, Oil on Linen. Available through http://KevinCourter.com