Observation of Nature
Spring Thunder - Nevada
Falls
Yosemite National Park
2004 8x10 Oil on panel DFN (Direct from Nature)
by Stefan Baumann
As
we travel throughout America, experiencing our country's
natural environment, I am intrigued by the amazing diversity
of our national landscape, but find my artistic essence
always pulls me back to the compositions of Yosemite.
In Spring Thunder, I truly wanted to capture a finite
moment in Yosemite, so I began searching for a vista that
would personify the experience. On this specific journey,
the season's thaw made the waterfalls breathtaking, so
I was drawn to a simple composition of Nevada Falls. I
always record in my mind, a tangible memory from location,
and the memory of this experience was standing and panting
so close to the falls that the oil paint mixed with the
spray, making it hard to move the slippery paint. I can
close my eyes and relive the vision of that memory.
When painting cascades of water, an artist sometimes
confuses the white of turbulence, with the white of highlight
and shadow, not capturing the true layers of a waterfall.
In this Yosemite moment, the mid day sun warmed the shadows
of the mist, and I wanted to capture this effect objectively,
the way I saw it. The best way to study a vista is to
simply look at the layers of color. First, study the lightest
part of your vista, which is usually the highlight. Objectivity
is important, because what may appear as white may in
fact be some warm or cool variant. Compare the highlights
that you perceive as white, with something you truly know
as white, like a paper towel, or the label on your paint
tube. Is the highlight more gray? Is it more yellow? Look
for the reds, yellows and blues in the highlight's value.
Once you see the color objectively, mix the value, and
sketch the highlight, putting it safely down just where
it falls in your vista. Now look for the darkest area
of your scene; More often than not, it will be the deep
blue of a shadow, and not actually black, even in the
darkest scenarios. Ask the same questions you asked for
the highlights. Assess the darks objectively, and compare
them to the mixtures you are creating on your palette.
Once you have mixed the darkest shades, place it into
your composition, sketching it into your canvas.
It is important in a field sketch of this nature, to
begin your sketch with brush and not with pencil. The
gradient of color will provide your detail, not finite
lines. Pay close attention to the light within the shadows
of your scene; this is a vital component of making your
outdoor work look as if it was done on location. This
is why I feel photos are not the best tool for the outdoor
painter. Film and digital cameras record contrast ratio
differently than the human eye perceives. Photos will
darken shadows and the resulting studio work will indicate
that it was not done on location.
The business of a painter is to paint. The study of color
will give power to form, but the savviest study of form,
will give no power to color. The artist, who can see all
the grays, reds and yellows in a waterfall will paint
a waterfall that has volume and depth; an artist that
can sketch the finite details of the waterfall, but cannot
objectively assess the gradient and values of its colors,
will not be able to complete an objective field sketch.
Through earnest observation and careful color study on
location, a painting that seems overwhelming at first,
will reveal itself one component at a time.
