Ontario Society of Artists - Contemporary Landscapes


(posted on 14 Aug 2018)

En Plein Air painting has made a comeback. The Impressionists were really into painting on location but although there have been plein air painters since  paint was put into tubes, the styles of painting that developed mid 20th century led many back to studio painting. Summer is short and it is  great  to be out painting while enjoying the fresh warm air.

When I first started painting, I did try painting a view while looking at the view. I think they were successful paintings but not my style. Later on I found out what it was that was unsatisfactory about plein air painting for me.

It was no trouble getting the equipment in place or working outside.    Our mentor verbalized the problem saying it was that the freedom of painting, was diminished. This explained it: I felt compelled to paint what I saw. This would include the colours and placing more emphasis on detail.   Maybe it over-stimulated my left brain? But I still wanted to work outdoors.

I do know one woman who can look at a view and come up with something else entirely in terms of colours.

My solution--I decided that I would take my stuff down to the meadow and just work on what was on the easel at the moment. A very large canvas might be trouble, catching the wind and blowing over.  

The Group of Seven painted on easy-to-travel 12x16" panels while on location. They used oil paints so work was then transported while still wet. Tricky. These are know as sketches that were then used to compose their large paintings.  Incidentally, I just spoke to a woman whose family had bought one of these small paintings from AJ Casson before he died. They sold it for a ton of cash more recently!

This weekend, I was working on 2 long narrow canvases of Rocky Mountain ranges. The meadow was calm, I took a position in the shade, and had a very fine day keeping company with the buzzing bees and busy butterflies.

Here's the progress I made. Not done but definitely coming along nicely. You can see that I have set up my paints and water on the back of the 4 seat golf cart. Works for me!

A new string of exhibition entry deadlines are quickly advancing toward me on the calendar. I missed one last week— couldn’t be helped. But next week is another and the week after a third one. A good bio will show  participation in juried exhibitions each year. It shows you are an active and serious artist.


There is a size restriction  to 30” wide max next week.  Unusual. The Headwaters Juried Art Show is a main fundraiser for the artist run gallery. I rather think that because so many of the works last year were very large and consequently expensive that not many sold and not much fundraising resulted. I usually paint in larger (but not huge) formats. 30 inch wide is near the starting width for the larger pieces. Everything else is a lot smaller. I find it as much work to do a small piece as to do a large piece. Consequently,  I would rather go bigger. My contenders for this exhibition suddenly became fewer.


There are non-refundable entry fees to each show that the artists must pay. A slight discount is available to members of the exhibition gallery. These fees pay for the gallery rental, repainting/repairing holes, reception costs, rack cards, advertising, jurors fees etc. If your work is not accepted, you can think of the fee as a  donation, helping the local arts.


Most exhibitions are now entered digitally. This saves the artist shlepping the work to the venue and right back home if it is not selected for the show. This also allows artists at a further distance to enter the show as they (or their work) don’t have to travel unless their work does get selected. 


I always find it hard to choose which painting(s) I will enter into a given show. A large painting presumably must warrant a large amount of wall space in the jurors judgment. But a larger painting implies the artist is serious as well. Jurors differ widely in what is selected. Usually there are 2 or 3 jurors per exhibition. One juror may love a piece and another juror for the same show not so much. So the jurors make deals with each. “if you want that one in then I want this one in.” A particular painting may be unselected for a particular exhibition and in another it wins a prize. Go figure! There is no definitive accounting for the decisions. Some jurors are very experienced, or it maybe their first time in the position. Some jurors can’t help curating a show when they are meant to be selecting the best work regardless of how it all hangs together. 


So for the Headwaters exhibition, I think I will enter Cardinal Under Cover, Tethered, and In The Hills. One, two , three or none may get into the show. So today, I’ll be photographing, resizing photos, checking labelling, touching up. There’s a lot of admin work involved in being a practicing professional artist. Phew!

Tethered 20x20


Cardinal Under Cover 24x30


In the Hills   18x48




(posted on 31 May 2018)

For our anniversary one year, we went to France to see Monet's garden. I have been an avid gardener since we bought our first home. The fact that Monet was a gardener and also a painter was quite inspiring to me as my interest in Art began to grow. 

We stayed in a bed and breakfast in a home that was there in Monet's day. In fact, the breakfast bar was said to be converted from an afternoon 'bar' where Monet would visit. It is just down the road a few blocks. Our room was beautifully light and airy with peachy pink walls and wispy sheers. 

Now what would I do with that?

 I have a short series at present with landscapes as seen through windows and doors. Matisse did paintings like this, using the device of a window or door. Our room had french windows that opened out onto a narrow balcony just wide enough for a  bistro table. The railing was over grown with vines and we looked out over a dense area of bamboo toward one of the hills backing up Giverny.

So I made the value sketch simplified the composition and decided on a large light area in the door area down through the room and the bed shapes and strong darks surrounding the windows and some medium dark areas at the floor. It was difficult to get away from the light airy sheers idea until I got it into my head that they are all just shapes to play with. 

It would be an evening picture so the walls and sheers could be darker. Remember dark is a relative description. Dark areas contrasting with light areas make a more powerful image. 

I put a small painting (my style:) of a water lily on the dark wall with a light but bright yellow frame. This makes is a focal point to draw the eye away from the light window with the high value contrast dark curtains on either side. 

The landscape area outside is analogous cools. There are very light warms in the window panes and the rest is blue/orange low intensity contrasts.

There's a large one in progress-- my largest work yet- 40"x60" - don't think my car will hold a bigger one. It will have 2 windows. Hoping for another good one! Here is  the sketch for the next work and the one completed smaller work.

sketch of larger painting

Gentle Breeze 30x30"

Comments welcome. Have a great weekend!

(posted on 28 May 2018)


Last week here at Haliburton School of Art and Design Advanced Individual Studies I painted a view  of the native perennial meadow from the little blue cabin in the meadow that we call the Cabernet. Here is the sketch and the painting:




Our mentor suggested that I might do a short series of these with doors and windows. Henri Matisse did a number of this type of composition. I guess if it is alright for Matisse , it is alright for me. 

For the second painting I channelled Matisse and painted a made-up view of the meadow from the cabin. I used a powerful value contrast to show the difference between the inside and the outside of the cabin. To simplify the composition, I left out the pathway around the meadow so it looks like you would be stepping out into the blooming flowers. The perspective of the table is also tipped. Here's the sketch and the painting:



The strong dark area is a low key blue and a high key blue in matching values. The water bottle matches value to the dark area as well but is in the low key complimentary orange colour. 

Within the dark area are 2 focal points— the white bottle cap and the very unrealistic orange binocular lenses. These are small areas with a lot of power to draw the eye because of the value and intensity contrasts. Together they balance the larger lighter area on the right that is very active but with lower intensity colours. 

In these paintings, I have scraped off the texture in the areas of the door and  window frame. It certainly changes the feel of the paintings. My shapes are painted flat over the texture (as in no contour) but these shapes are physically flat as well.  A little change.

Feedback welcome. Have a great week!    click here for to read previous blog posts from Haliburton and more.

(posted on 26 May 2018)

Rockies Range 15x60" is an unusual painting being so narrow and wide. Not good for Instagram or Facebook.  It was important to make sure the viewer would go back and forth across the painting with interesting areas to find along the way. 

The pure white snow caps across the top contrasting with the intense blue takes the eye skipping across the canvas to the far side. The various horizontal shapes of the  mid ground  all move back and forth until the eye arrives in the near foreground and finds the unrealistically orange fenceposts which  provide a focal point at each end of the painting. Enjoy! 

I've had a good week at Haliburton School of the Arts Advanced Individual Studies and am looking forward to the second week coming right up. Nothing to do but paint paint paint! 

Below is a quick phone snap of this  work. There is another painting on Instagram you might be interested to see: The view from the Cabernet. The Cabernet is a little blue cabin set beside the native perennial meadow. Enjoy!



(posted on 23 May 2018)

At Advanced Individual Studies here at Haliburton School of Art and Design, one painting is hanging up in the Convocation Hall  at Fleming College in Haliburton.

Forget Me Not Pond, Kananaskis is my rendering of a beautiful view from the shores of this man made pond near Calgary. The reflections are beautiful. The painting is below.

Tomorrow I am working on an unusual size canvas of 15" high by 60" wide. I hope that a mountain range view west of Calgary will result after tomorrow's completion effort. 

Part of the program today was to give a short artist talk. For some reason I was a bit nervous, though I have done this before. Oh well. Not bad. Not great. but check it off.

Tomorrow the assignment is due: 

Create 12-20 shapes within a frame of reference on paper. Choose an analogous bridging colour system with no unification by value and 3 focal points. This is an exercise so be warned that it is not meant to be a good painting-- just a solution to an exercise. Below you will see my take on the question. 


(posted on 20 May 2018)

Well, it's not really a race but it is a challenge of sorts. Here I am at Haliburton School of the Arts all set to paint paint paint all week and next at the Advanced Individual Studies. Class is expected to be full at 16 artists who have no cares but working on their art. It was nip and tuck whether I'd make it this year because of family health issues but my wonderful best support ever husband Peter is taking care of business at home so that I can PAINT all day all week - YAY!

There are several projects on the go--

One is to finish the 3rd piece that is planned for a small triptych.

Another is to make progress on some exercises that I was given last year or perhaps the year before but haven't completed yet. 

Third is to paint some paintings starting off with completion of one started last month. Here's a black and white of where we are so far with it. Sometimes when I'm a bit stuck, it helps to go back to the black and white and see what thoughts pop into my head. I can feel some further simplification on its way in order to make the hollyhocks mine.... 


(posted on 29 Apr 2018)

Today members of the Etobicoke Art Group (EAG) delivered their  2 best recent paintings or sculptures to the jurors at the Etobicoke Civic Centre Art Gallery in Toronto.

Several members worked on intake checking and rechecking paperwork for about 100 paintings. Other members  set the paintings in the gallery for jurying by leaning them against the wall on very narrow strips of carpeting. This prevented work from slipping. Then we waited and ate our lunch and waited while the jurors decided on their selections and which works would receive a prize.

We watched the ‘unselected’ work move to the end of the hall. Sometimes we wondered how a particular work could be ‘unselected’.  But the jurors are king—or  in this case queens for the day and choose what they want for the show. On arrival,  they are given the rules of engagement. There is never any interference with the jurors while they are working at this show.

The end of the process is difficult as we must return the ‘unselected’ work to the artists. Fortunately at this exhibition, since the jurying is done in person (not digitally), the artists are offered a 5 minute critique for the unselected work. The artists may speak to what the jurors have to say. For some, this  dialogue may soothe disappointment. Or not. 

One of my paintings, “Cardinal Under Cover”, was selected. Another painting made the swift walk down the hall. I was happy to get one painting into the show as some artists did not. It is not a rejection. These jurors on this particular day just chose other paintings. A painting may receive a prize in one show and be 'unselected' in another. The EAG group is so strong as a whole. I am pleased to work amongst them. 

Cardinal Under Cover 24"x30"


(posted on 28 Mar 2018)

Next weekend I'll be at the Kingsway-Lambton Art Show and Sale!

This is a rare opportunity to see a large selection of my available work in public. I will be bringing  a ton of paintings.

33 juried Canadian artists will be presenting their work. Admission fees and art sale commissions will go to community charities. Below is a poster of the door prize painting by Darlene Kulig who recommended me to the organizers. I will be showing and selling a great selection of work including very new pieces. Mountains, Meadows, and More!

Check out my Available Works Gallery. Is there  a painting you'd particularly like to see at the show? Then send me a message and I will be sure to bring it along.

 If you've been wanting to see my work in person, this is a great way to do that. 

Saturday April 7th at Kingsway Lambton United Church in Toronto from 10 am -4 pm. $10 admission.


(posted on 14 Feb 2018)

The pages are flying off the calendar even though we are in the dead of winter.  Today the sun even shone!

I've just updated the galleries on the website with several new paintings that are expected to go to the Kingsway Lambton Art Show in Etobicoke on April 7. Another painting is on the easel, not quite finished. I have used psychological power in a couple of these paintings to create focal points.

Psychological power in a painting is a focal point based on a person, a face, an animal/bird, a building, a machine i.e. really anything to do with human life. The size of the psychological item is important. It may unintentionally overwhelm the painting if it is large. We can't get our eyes to look anywhere else. A large figure in a painting will make the painting about the figure. The figure is not just a minor accessory. It demands our attention.  A medium size figure in a painting is still very dominating but that may not be what the artist has in mind as far as controlling the viewer's visual experience. 

In Claude Monet's paintings,  that are about the figure-- e.g. Woman with a Parasol-- the people are large figures.  The Cliff Walk at Pourville is about the landscape and the people are very small.  There don't seem to be  many in-between middle size figures in his paintings because we find the figure so visually compelling. He has decided what the painting is about.

All this to say, I am working on 2 paintings with a bluebird sitting on a branch. It must have been breeding day as the little bluebird was in his most spectacular plumage that day. Because I don't want the bluebird to dominate the painting, he is  small. Even though his blue provides a colour intensity contrast as well as  a value(light/dark) contrast, he doesn't jump(or should I say fly?) out at you. He is a focal point but one of 3 focal points. I hoped to allow your eye to move around the entire painting enjoying the colours, textures, and shapes and not get stuck on the bluebird. 

How do you think it works for you? Let me know in the Contact page.

Bluebird in June 12"x36"

P.s. The EAG Highlights 2018 exhibition is currently showing 2 of my paintings at Neilson Park Creative Centre in Etobicoke-- Western Skies and No Passing

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