Gold Country Plein Air was the kick-off event for what will be at least five plein air paint-outs I’m scheduled for this year, including: Telluride Plein Air (June 28th-July 4th), Jewel by the Bay (July 17-20), Valona Plein Air (July 28-August 5th),  Estes Park Plein Air confirmed yesterday! (August 25), and San Luis Obispo Plein Air (not yet confirmed, October 1-7).

This nice thing about Kris’ show at The Vault is it’s non-competitive, and all the artists get along really well. It’s a nice annual reunion.  Several are in the upcoming Telluride show, including Paul Kratter and Douglas Morgan.  Paul was able to give me some tips at dinner the other night.  It’s probably the most prestigeous show I’ll do all year, so I’m a bit in intimidated.

Here’s one last painting from the show, one that I decided not to enter (three have sold, by the way!).  This one’s growing on me 🙂  I don’t know about you, but when I finish a a painting, it’s very difficult for me to judge it.  I guess you spend so much time looking at the “trees” in a work that you don’t see the “forest”.  Anyway, this is available to my blog readers only, let me know if you’re interested. If I sell this for a couple hundred, I can break even on the trip!

Pinecrest Lake, CA

Pinecrest Lake – Oil on Linen – 8×10

9 thoughts on “Gold Country Plein-Air: Recap

  1. Hey Ed! Glad to see you back! I was missing your posts. You might be interested in knowing that your work on this blog contributed greatly to my moving into oils. Thanks for the big nudge . . .and for your encouragement!! And, by the way, how does one get into these plein air events? They sure look like fun! Am doing one in Santa Cruz in a few weeks.

  2. Hey Mike, yes, I’ve not blogged as regularly as usual. The combination the show in Sonora and closing on a new home in San Francisco next week has kept me quite busy!

    To answer your question: “how does one get into plein air events?”. There really is no easy answer. There are some art event calendars, etc, but they’re rarely complete (since they typically rely on advertising events, and few do so). Since I participate in quite a few, you could click either the “Events” or “Shows” categories on my blog and see a list. I almost always link back to the event’s web page, where you’ll find a prospectus to enter. Most events are juried, some however are simply by invitation.

    Be prepared for lots of rejection letters, I received (and still recieve) many! Shrug it off, it’s a fact that there are far more artists than opportunities, so it’s very competitive.

    Good luck!

  3. Hi Ed,
    I love looking at your work. Inspirational! I think when I’m done with desk work this morning, I’m going to head out and paint in the field.
    As for my composition sources, I think “Art of Design” is one of my favorites. It talks a lot about phi, golden proportions, design-in-nature, etc.. I know at this point my base for most of my work begins with the Rule of Thirds (you can clearly see it in Harbor and Flag).

  4. Cooper, you’re right, you really can’t go wrong in a composition if you think about the rule of 3rds, as long as you don’t take it too far. Everything has the potential to be over done, you know?

    I will check out the text you mentioned…not sure I have it.

  5. I have been ghosting your work for a while Ed. Great stuff in everyway. Sorry to hear you have to work at Wells Fargo LOL. That is a part of my history as well. Another fan of the rule of thirds, hard to go wrong with that lurking in the conscience. Would love to run into you on a paintout.

  6. Ed….yeah!!! You are going to be in Estes and I am so looking forward to meeting you and hopefully watching you paint! Maybe get some of these tips in person. PLEASE let me know when/where we can meet. I know I have asked before and got a detailed answer from you, but now I want the final answer…..I am buying a pochade box for the summer. Which one, which size, what accessories. PLEASE tell me your favorite first purchasem if you could buy anyone out there.

    (I think I’d like a lesson on what you tried to teach about the color mixing (lights and darks in the composition). I didn’t really understand how and why it matters with where you mix on the pallete and why matching the white/black set the tonal range?

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