Monthly Archives: February 2013

Paintings from Colusa NWR

Now that they’re dry and photographed (and signed), here are the two paintings I did at the Colusa National Wildlife Refuge two weeks ago. The first one, Snow on Snow Mountain, was done in late morning, with the sun over my left shoulder.

Stephanie Benedict, Snow on Snow Mountain
The marsh in the morning was clear and cold, with a north wind blowing. To the west, in the Coast Range, Snow Mountain had a fresh dusting of snow. Snow on Snow Mountain ©2013 Stephanie Benedict. 8″ x 6″ oil on board.

The second, Light on the Water, was done mid- to late-afternoon. The light that day just kept getting better and better—except that, as the sun moved west, it reflected more and more off the water. Eventually, I couldn’t look at the scene without getting blinded by the glare. Surely a small price to pay for getting to spend the afternoon listening to ross’ geese, greater white-fronted geese, several kinds of ducks.

Light on the Water, ©2013 Stephanie Benedict
The afternoon sun reflected gold on the marsh waters. Light on the Water, ©2013 Stephanie Benedict. OIl on board, 8″ x 6″.

I even got a new bird for my life list: white-faced ibis. How cool is that?

White-faced Ibis ©2013 Stephanie Benedict.
These guys are fairly common in the Central Valley in the winter–I’d just never seen one before.
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Painting at Colusa NWR

I recently had the chance to paint with friends at the Colusa National Wildlife Refuge, thanks to a Plein Air Painting day sponsored by the U. S. Fish and Wildlife Service.

Linda Merchant en plein air at Colusa NWR
Wildlife artist Linda Merchant painting at Colusa NWR.
Stephanie Benedict painting at Colusa NWR
Here’s me painting at Colusa National Wildlife Refuge. I’d left my hat in the car–silly me. Photo by Linda Merchant.

The refuge, located about an hour north of Sacramento, is one of a complex of refuges in the north valley that are the winter home of thousands of migrating waterfowl. In my humble opinion, these refuges are the jewels of the Valley—and, therefore, one of the best places to spend a sunny February Saturday.

The group was limited to about 12 painters, most of who stayed close to the parking lot and the viewing platform. My friends Linda Merchant, Rhonda Egan, and I ventured a bit farther afield: perhaps a quarter-mile down a hiking path near a second viewing platform, where we could stand out of the wind and see the marshes and the Coast Range to the west.

Here’s the deal with plein air painting that many non-painters don’t realize: just like photographers, painters like early morning and late afternoon light. Mid-day light, with the sun high overhead, is the harshest and, for painters, the flattest, because the shadows offer their least contrast at that time. It’s not impossible to paint mid-day: it’s just better earlier or later.

So the three of us painted both morning and afternoon pieces: the first, done late morning; and a second later in the afternoon, after the official ending time of the event—but with light that just got better and better. The two photos above show two paintings done from almost the exact same spot, looking in different directions, at different times of day. The first shows the snow on Snow Mountain, almost directly west, in late morning. The second is late-ish afternoon, looking southwest. This one is a kind of contra jour (“against the day”) because I was looking almost directly into the sun.

Thank you to the Sacramento National Wildlife Refuge Complex and the U.S. Fish and Wildlife Service for having this plein air painting event!

Delta Eucalyptus

A few weeks ago I wrote about a plein air trip to the Sacramento River Delta. I finally had a chance to touch up the painting I did that day. Usually when you bring a painting indoors, you see things in it that need to be fixed:  edges not right, some area too bright—something.  This one had a shadow across that tree that was too much of a stripe, and the sky showed too many streaky brushstrokes.  (I like the sky to be smooth, unless I’m painting clouds.)  Here’s what I think is the final piece.

On the easel:  Delta Eucalyptus, ©2013 Stephanie Benedict
Delta Eucalyptus, 8 x 10 in, oil on board, by Stephanie Benedict

Do you prefer finished-looking pieces, or the more raw look of a painting done in one outdoor session, with no touch-ups?