Reprinted with permission
Plein Air Magazine, December 2004 issue

Kenn Backhaus
“Shaw Cove”- 18” x 24”-  Oil on Linen

Whenever an artist looks twice at a scene, something has sparked some emotion, which prompts them to set up an outdoor easel and start the plein air painting process. This is what it is all about - the passion of spontaneous creation of a moment in time, outside in nature.  Collectors too, can experience similar emotions when a painting catches their eye as they visit many galleries across our country.  The emotion may be the same or different from what the artist experienced. Either way, it is a grand feeling when nature itself - or art created from nature - sparks some deep passion.

This painting, entitled Shaw Cove, has a very simple theme. There is nothing flashy about it; this scene simply portrays rock, sky and ocean.  I once thought that I had to find a scene that had everything in it - what I refer to as a “postcard scene”.  Through maturity, I have found that the artist must be true to himself.  Now I have discovered, that my emotions can be triggered by a simple pattern of light and shadow or the atmosphere of the scene. 

Studying works of past Masters, I have noticed that subject is secondary to the importance of how that subject is painted. As a representational painter, I have had to develop certain skills that define on canvas the illusion of three dimensions and atmosphere. This knowledge is acquired through studying how sunlight affects not only the value of a subject, but also the atmosphere surrounding it.  Such knowledge usually comes through trial and error on acres of canvas — not to mention learning to use artist’s tools on a level that reflects confidence and wisdom.

Given the importance of all these academic requirements, once the artist displays this confidence in his or her painting on a day-to-day level, then and only then will the artist have the chance to seek the other important ingredient in a quality painting and that is the poetry of the subject. I am finding that this poetry is what I am working toward and discovering in my own works.

Step 1
This painting was completed in July during the Sixth Annual Laguna Plein Air event in Laguna Beach, CA. I used a digital camera on-location to capture the painting during its various stages.  Depending upon the intricacy of the scene, I may start with a more refined sketch.  In this case, I started with a loose oil paint/mineral spirits wash to define the masses. This first stage sets the pace as to the view point of the scene, the light and shadow masses and the positive and negative areas of the scene. The artist must develop the focal point early on or at least know where it will be located.

Step 2
This second stage is very important; I have to develop the areas that are in shadow in relation to the areas that are in light.  This area will be the secondary focal area of the painting.   I already know where the main focal point will be, I just do not have time at this point to put it in.  The plein air painter has to concern him or herself with the constantly moving light. What is now in shadow may in ten minutes or less become filled with light, so the artist should develop the painting with this in mind.  Here I start to place paint in a more opaque fashion over the initial wash areas of light and shadow to establish the correct value and color temperature. The water area surrounding the rocks is also given attention.

Step 3
From the beginning, one thing that caught my interest in this scene was the occasional wave action against the far rocks. This will be my main focal point.  In this stage, I observe the waves to determine the point at which the wave hits the rocks.  This is indicated while developing the foundation of the ocean with the horizon line and placing some of the sky value and color.

Step 4
This is a refinement stage.  My eyes continually scan the scene to see its harmony throughout the painting.  The sky is developed further with subtle color temperature changes, rather than values.  More attention is given to subtle ocean colors that merely suggests wave movement.  I also make understated additions to the rock area.  While observing my tide chart, I notice that the tide is going out, exposing more rocks.  This may be helpful to the finished composition.

Step 5
I continue developing subtleties of the ocean with additional light and dark values placed in certain areas, giving the suggestion of waves and waves breaking on the rocks.
I start to develop the shadowed foreground in the lower left-hand corner.

Close up
This detail view shows a variety of brush strokes, lost and found edges and color changes. 

Finished Stage
I give final attention to edges, softening those of the wave splash and suggesting wind and spray.  I review other areas to determine the edge quality and contrast of value, especially at the focal point.  I apply more definition to rocks farther out in the ocean and a few indications of waves farther out.  The shadow area of the foreground in the lower right hand corner is finished.  The very last stage is getting away from the painting for a while---looking at it with a fresh eye the next morning. Observing the painting in the studio allows me to see the painting for what it is, and I should have the visceral response I had from the scene.  Any refinements I make now are design decisions---either simplifying or more boldly stating various areas of the painting.  Sign it, and it’s off to start another.

Kenn Backhaus’ Palette:
Winsor & Newton:

Media:
Oil/linen (Claessens oil, single primed no. 15)