It took a while before artist Mary Byrom found the right plein air teacher. Once she did, she found herself in “artist boot camp”—and she loved it.
Ms. Byrom painted in a studio for many years before deciding to paint outdoors. A native of New England, she heard about some plein air artists living out West and signed up for a workshop with Scott L. Christensen.
She says she wanted instruction from accomplished painters who kept the tradition of realist landscape painting alive. “The West was really ahead of the east on the plein air resurgence.”
The workshop turned out to be a transforming experience. Although demanding, she “learned tons of important lessons.” Byrom says, “I was able to really see and experience what I was painting and convey that to the canvas. I started to paint a state of mind—not a replication of a scene.”
Since the workshop, she has learned greater focus and clarity in mixing colors and applying them to the canvas.
Like photographers, the plein air artist makes use of light. She says plein air art “transcends the landscape or objects before you.” And it’s all about the light and how the artist depicts it “that makes all the difference.”
The artist has a shopping list of equipment. (See box.) Leaving the comfort of a studio filled with tools, canvases, and even the subject, the plein air artist must take paints, brushes, and canvas to the subject.
“Carrying a large, wet painting any distance outdoors can be a logistical problem if you are in a rural area far from any roads,” Byrom says.
Ms. Byrom painted in a studio for many years before deciding to paint outdoors. A native of New England, she heard about some plein air artists living out West and signed up for a workshop with Scott L. Christensen.
She says she wanted instruction from accomplished painters who kept the tradition of realist landscape painting alive. “The West was really ahead of the east on the plein air resurgence.”
The workshop turned out to be a transforming experience. Although demanding, she “learned tons of important lessons.” Byrom says, “I was able to really see and experience what I was painting and convey that to the canvas. I started to paint a state of mind—not a replication of a scene.”
Since the workshop, she has learned greater focus and clarity in mixing colors and applying them to the canvas.
Like photographers, the plein air artist makes use of light. She says plein air art “transcends the landscape or objects before you.” And it’s all about the light and how the artist depicts it “that makes all the difference.”
The artist has a shopping list of equipment. (See box.) Leaving the comfort of a studio filled with tools, canvases, and even the subject, the plein air artist must take paints, brushes, and canvas to the subject.
“Carrying a large, wet painting any distance outdoors can be a logistical problem if you are in a rural area far from any roads,” Byrom says.
