AM:
When you begin a landscape painting, what is going through your mind? What are
you asking yourself—what is your aim and purpose?
CA: My first concern when beginning a landscape outside is capturing the overall feeling of light as it affects the forms. I use broad brushstrokes to block in the overall color and values of the masses while simultaneously trying to create movement. As I progress, my intuition drives me to concentrate on the idea or purpose behind what I’m painting. The further elaboration of the concept comes, later in the studio. Field studies supply you with information that you can then use on a more complete painting.
CA: My first concern when beginning a landscape outside is capturing the overall feeling of light as it affects the forms. I use broad brushstrokes to block in the overall color and values of the masses while simultaneously trying to create movement. As I progress, my intuition drives me to concentrate on the idea or purpose behind what I’m painting. The further elaboration of the concept comes, later in the studio. Field studies supply you with information that you can then use on a more complete painting.
AM:
You say that you have constructed your own form of realism, in that you suggest
detail with such painting effects as scumbling, impasto, and transparent glazes
and let the viewer’s imagination interpret the rest. Can you explain how you do
this while achieving such highly realistic effects?
CA: I try to paint the landscape the way the human eye sees. I do not really paint every detail, even though it may appear that way. Instead I concentrate on the overall summary of shapes and silhouettes as they appear against the light. The detail comes from textures and the layering of paint, which create effects or abstract shapes that explain detail.
I try to blend the scene into the concept of a whole by using various techniques involving soft and hard edges to explain focus, distance, and depth. If you overstate the detail the painting becomes boring. I try to approach realism in a way you normally wouldn’t expect. The surface quality of the painting, if done properly, should enhance the mystery of how the overall effect works. Methods such as scumbling and glazing add to that mystery. When the unity of the whole is achieved, the work is successful. The fun part about painting is how much variation and interest you can achieve in building the parts that make the whole.
CA: I try to paint the landscape the way the human eye sees. I do not really paint every detail, even though it may appear that way. Instead I concentrate on the overall summary of shapes and silhouettes as they appear against the light. The detail comes from textures and the layering of paint, which create effects or abstract shapes that explain detail.
I try to blend the scene into the concept of a whole by using various techniques involving soft and hard edges to explain focus, distance, and depth. If you overstate the detail the painting becomes boring. I try to approach realism in a way you normally wouldn’t expect. The surface quality of the painting, if done properly, should enhance the mystery of how the overall effect works. Methods such as scumbling and glazing add to that mystery. When the unity of the whole is achieved, the work is successful. The fun part about painting is how much variation and interest you can achieve in building the parts that make the whole.
From: http://www.artistdaily.com/blogs/pleinair/archive/2009/01/22/en-plein-air-a-conversation-with-clyde-aspevig.aspx
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