Watering Can II

 

Watering Can II

9" x 12" oil on board

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I had scraped this one and was ready to wipe it, but I decided to daub in some of the values with my fingers.  I liked the effect, so I kept going.  You can see evidence of the scraping over the left shoulder of the watering can - evidence of the daubing in the circular shadow marks and highlights - those are from my fingertips. 

Scraping caused the background to be really greyed down and loose which made the color of the watering can pop.  Mental note to remember that for future paintings.  I also used a modified Anders Zorn Palette with only four colors" alzirian crimson, Venetian red, yellow ochre, and ivory black, plus white. 

Pitchers

 

Pitchers

12" x 16" oil on board

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What better activity than painting when you're home with a sick daughter?  She was too sick to paint with me but hey, I was close by and I heated her up some lentil soup to eat on the couch while I painted.  Don't judge.

I bought the pitchers for the sole purpose of painting them and both were purchased during anniversary mini vacations with my wife.  The yellow one is a French ball pitcher, purchased from an antique shop in Matthews, VA.  The blue pitcher is from an antique mall in Charlestown, WV - I wish I knew the style and provenance, but I forgot. 

October Light

 

October Light

8" x 10" oil on board

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I almost called this one, "Soccer Practice," because it's based off a photo that I took during my son's soccer practice. In the photo, there are kids playing soccer and parents, sitting in chairs staring at phones, which is what parents do during soccer practice. I didn't think that would make a great painting, so I left them out.  

I used three colors; viridian green, cadmium orange and manganese violet plus white. Working out the values and warm vs. cool was tough - it would probably be better if I gave it another try but as usual, it's all about time. 

Morning In Nelson County

 

Morning In Nelson County

8" x 10" oil on board

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Instagram

My wife, Sarah, and I just celebrated our 15th wedding anniversary.  This painting is based on a photo from our 5th wedding anniversary down in Nelson County, VA. I think I snapped the photo as we were leaving the bed and breakfast on our way home from a weekend of hiking and wine drinking. We're celebrating our 15th at the Inn On Tabbs Creek, on the East River in Mathews, Va., near the Chesapeake Bay.  We're going to an oyster roast and then spending a day out on the boat, hopefully catching some speckled trout and rockfish. 

I haven't been painting from photos a lot, lately, but I wanted to try a new technique, which was turning the reference photo upside down while painting. The idea is to think more about shapes and warm vs. cool instead of painting things like mountains and trees. I think it worked!  I can feel the morning when I look at it and that was my main goal.  

Speaking of new things; I'm on Instagram!  I hate it and I'm already totally addicted and can't stop staring at my phone, but at least it's a good way to get visibility.  Here's a link:  

https://www.instagram.com/erik_bohn_painting/

Give me a follow!

Native Garden Painting (With Kids)

 

Native Garden Painting (With Kids)

8" x 8" oil on board

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I often tell myself I'm going to revisit paintings, do another sitting, touch things up. But I never do and this is no exception. It's probably for the best because my rare attempts to improve paintings usually have the opposite effect. 

I wish the native garden still looked like it does in the painting - that would mean it was late July, but we've moved on to purple and white asters and golden rod - still going strong, just another phase.  I'm happy with it, considering I had two little monkeys painting alongside. 

River Copse

 

River Copse 

8" x 10" oil on board

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Today was not exactly a pretty day, as you can see from the sky in the photo below - and maybe from the painting...But, an overcast sky actually makes for less challenging painting conditions, even if it's not as colorful as a sunny day. It's less challenging because the light and shadows don't seem to change as quickly when the sun is blocked by clouds. The last three days have also been 100 degrees +, so upper 80's and overcast felt like a spring day. Still, painting on a rock in the middle of the Potomac River is not without its challenges.

One challenge faced was that my normal put-in at Violet's Lock, which lets me launch below the broken down dam, just upstream from the copse pictured in this painting, was blocked by a massive deadfall. This meant that the first thing I did this morning was navigate some fairly challenging rapids with all of my painting and fishing supplies, food, etc., strapped to my kayak. The uncertainty of the route and not knowing extent of the rapids, however, was scarier than reality, and I made it through just fine.  Later in the day, I was sucked into a much larger drop while bouncing around, casting for smallmouth and not paying attention to my route through the boulders. 1.5 feet doesn't sound like much, but when you're caught off guard in an overloaded kayak, it's disconcerting.  I got a little sideways, for sure. 

Fishing may have been more successful than painting today! I caught one decent smallmouth after another with some big boys mixed in - one of the best days of fishing I can remember and an all-around great day. 

 

Return to the Junction

Return to the Junction
6" x 6" oil on board

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Back to the junction of the Bullpasture and Cowpasture Rivers for this one.  Just upstream from the location of my last Junction painting in Highland County, VA. I had to wade across the river to get to a rock ledge where I stood to do the painting.  The rocks are SUPER slippery so it took all my skill to make it across without dumping myself and all of my painting supplies in the river. Sarah and the kids were downstream floating around and hunting for crayfish - my dog Rainey was laying in the shade beside me. 

Super tough to capture sufficient detail without over doing it, especially when your kids are calling for you to help them catch crayfish.  Regardless, this was one of the best days in recent memory. The more time I spend painting beside a river or sitting neck deep with a beer in my hand while my kids look for creatures, the better. Hey look - there I am!

Evening in the Hollow

 

Evening in the Hollow

11" x 14" oil on Belgian Linen

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The first evening I spent at the cabin, I looked up the hollow as the sun was lowering toward the ridge and thought, "why paint anything else?" I love this painting. It might be the favorite of all that I've ever done. But it still doesn't come close to capturing the pristine beauty and color of Seldom Seen Hollow. 

What I love about my favorite painters and what I've tried to work toward, is the ability to say so much with so little detail.  It appears simple, even though I know it's far from it. I think I'm closer with this one than I've ever been. 

Fence Line

Fence Line

8" x 10" oil on board

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This is the seventh of seven Highland County paintings - I'm saving my favorite for last.  I painted this quickly because the sun was going down, and I like the looseness.  This is the view looking southeast so I got to stand in the shade on the side of the house as the sun was setting diagonally behind me. I had been standing in the sun all day, so the shade felt as good as jumping in the river had earlier in the day. When the sun sets at the cabin, the cows seem to take up a conversation, each mooing its own distinct moo.  Sometimes the conversation dies, only to be revived a minute later by a braying that sounds more like a donkey than a cow. Once started, they all have to get a word in. 

Cowpasture Crossing

 

Cowpasture Crossing

8" x 10" oil on Belgian Linen

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I had scoped out this spot on my first day in Highland County - I wanted to paint it because I loved the shadows on the dirt road and the way the Cowpasture River (yep, that's the Cowpasture - see previous post) reflected the sky above. To get to the spot you cross a swinging bridge and head upstream from the junction of the Bullpasture and Cowpasture.  The Cowpasture River looks more like a hog wallow here than a river. 

I know no one wants to hear me complain about standing by a river, painting, but this painting was torture to make.  I was nervous because, while painting my first painting of The Junction, I had seen some sort of fertilizer or manure spreader with wheels taller than I am, pass through the very spot I would be painting. While I hadn't seen any no trespassing signs, I worried that if the farmer saw me standing on his land, he might not like it.  Whether he minded me painting there or not, he would have to pass back through on his way home. Hopefully, he would finish and head back before I finished my first painting. He didn't, and I decided to risk it. 

While painting this painting, I could hear the spreader doing its thing, so it was looming in the back of my mind that I might have to face an angry farmer or at least have to move my easel mid-painting to get out of his way. This sounds bad, but I also didn't want to have to take a break to talk to the farmer because it only takes a few minutes for the light to change completely. Now, I was hoping I would finish the painting before he finished the spreading

While the impending interaction with the farmer was unnerving, that was not the torturous part.  If you've ever seen a cow covered in biting black flies, that's what I'm guessing I looked like.  There were no cows around, only my dog Rainey, who drew in even more flies, so they all came to me.  At least cows have tails to swat with- I had a brush in one hand and paint on the other, so swatting was not an option.  

Then, as I was contemplating giving up out of pure misery, here came the manure spreader.  An alien rover with tinted windows - I had no idea who or what was going to hop out of that thing.  Rainey was cowering and refused to move and the thing didn't seem to be slowing down. I had to jerk Rainey by the collar with one hand while holding my tripod and easel in the other and trying to keep all of my brushes from sliding off the tray.  I got Rainey into the bushes beside the road, however, I had to search for my brushes.  

Finally, the thing stopped. What hopped out was a sixteen-ish year old boy who was nice as could be. He apologized profusely for making me move and said he wouldn't have to come back through again that day. So that was a lot of worry about nothing.  Regardless, I was done with this painting.  Despite the mental and physical torture, it turned out ok. 

The Junction

The Junction

8" x 8" oil on board

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The merging of the Mississippi and Ohio it is not.  The Cowpasture River is little more than a trickle before it meets with the Bullpasture River. Sometimes it dries up completely in summer, but the Bullpasture always seems to run strong and cold.  It's odd to me that after they meet, they take the Cowpasture's name.

This was a tough paint.  The values of water follow different rules from the values of solid objects or land. I don't have a ton of experience painting water, so it was tough to judge those relationships and I'm not sure I got it exactly right.   The Cowpasture sure felt great after two hours of standing in the sun, while getting devoured by black flies.

The View South

 

The View South

9" x 12" oil on board

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The VRBO cabin that I rent for my annual painting retreat, near the town of McDowell in Highland County, VA, faces south. To get to the cabin from the vantage point of this painting, you walk up and over the rise in front of you.  The cabin sits on a large terrace, halfway down a massive hill at the entrance to the hollow. The view south from the cabin's front porch is miles and miles of the same - hills, hollows and mountains. There's a reason why Highland County is known as Virginia's little Switzerland.  

Storm's Coming

 

Storm's coming

8" x 10" oil on board

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The storm clouds spilling over the ridge looked incredible so of course I had to paint them. Storm clouds change quickly, however, and by the time I got my easel in position, the clouds over the peak were not the clouds that had drawn me in. I actually had to copy these clouds from a different part of the sky and superimpose them on top of the ridge.  And what follows storm clouds?  That's right - so if it looks a little rushed, that's because it was.  Luckily, it was a quick shot of rain, unlike last year's retreat, which was a three day downpour. And the evening following the storm was one of the more crisp and spectacular evenings I have experienced. 

Country Crab Apple

 

Country Crab Apple

8" x 8" oil on board

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The first of SEVEN paintings that I completed in three days during my annual painting retreat to Highland County, VA. 

I told myself this was going to be kind of a warmup.  I asked for and received a new travel easel that if you've read this blog before, you've heard me talk about getting for years.  So this was a test run, but I started to like what I was seeing, so I finished it out. 

The new easel and tripod worked great and they definitely had a positive impact on the paintings I completed during this trip. Setup with my old easel was ten minutes of fury with parts breaking and balancing things so my panels didn't fall out on the ground. Now, I snap the pochade box onto the tripod and I'm ready to paint. There's no way I could have completed seven paintings in three days with my previous setup.  So thanks!  

Backyard - Redbud

 

Backyard - Redbud

8" x 10" oil on board

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Getting some practice in before my painting trip to Highland County, VA next week. My brain is a bit addled after having two teeth pulled earlier this week. I took a bunch of painkillers yesterday, but I liked them a little too much, so I decided not to take anything today, and I feel icky.  Plus, the gaping hole in my jaw hurts. I can see how people get hooks on those things. 

This is my 2nd attempt of the day.  The first one I tried to be really careful and draw everything out and pre-mix the colors and, of course, it turned out awful, so I wiped it and then painted this one really quickly, without drawing it out and using only one brush.  That's usually how it works.  Once I stop thinking, good things happen. 

Meadow at Trout Pond

Meadow at Trout Pond

8" x 10" oil on wood panel

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This is the first of my Trout Pond Recreation Area paintings from my day off on Monday, May 13th. Before I painted, I hid my easel behind a tree (not that I really needed to) and hiked a few miles into the mountains with my dog, Rainey.  The whole area is spectacular - Trout Pond is a limestone sinkhole, the only natural lake in WV, and there are tons of cliffs and rock features to explore. I also love seeing native plants that are supposed to grow wild in Fairfax County, where I live, but are choked out by unending construction and invasive plants. I have native geranium maculatum that I bought and planted in my garden at home, but I had never seen it in the wild until my hike around Trout Pond. 

This was a highly enjoyable painting to paint, which is not always the case. Afterward, I stretched out on a bed of pine needles on the hillside to the right of this image and I felt like the silence was massaging my brain. The sound of a breeze through the pines is more beautiful than anything I'll ever paint. Here's another action shot:

Chimney Rocks

Chimney Rocks

8" x 10" oil on panel

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This is part of Chimney Rock, located in Rock Cliff Lake, one of two lakes/ponds in the Trout Pond Recreation Area in Wardensville, WV. The other body of water is Trout Pond, which is the only natural lake in West Virginia, formed out of a limestone sink hole. During a family hiking trip to the recreation area in December, I noted several potential sites and couldn't wait to come back for some painting. 

I'm out of practice, though, and had a tough time keeping up with the changing light and simplifying the infinite details, so it might have gotten a little muddy.  The camera also had a tough time getting the highlights right, so I think it looks better in person.  Here's an action shot:

Abstract Tabletop

 

Abstract Tabletop

12" x 12" oil on board

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I almost called this one, "The Struggle." This is what I'm up against if I decide to do a little painting on the sun porch after a grueling virtual school planning day. All manner of games and cards and buzzers, pencils and papers must be cleared before I can start. Luckily, I didn't know what I wanted to paint anyway, so I painted the tabletop. 

I'm weird and maybe this is what makes me an artist but I'm drawn to random arrangements and trying to find balance in them (maybe that makes them not truly random?) Whether or not true randomness exists and whether or not I captured it in this painting is debatable.  But, I actually had fun painting, despite the clutter. 

Orchid

 

Orchid

8" x 10" oil on board

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Painted in the dregs of winter - late January. I liked the contrast of the warmth inside with the cool outside and the way the cool, blue light was hitting the leaves and the windowsill. This orchid rarely gets any water but it somehow sprouted some flowers a few weeks after I painted it. 

Hills of Chiapas

 

Hills of Chiapas

16" x 20" oil on canvas

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Most of the paintings I've completed this year have been painted outdoors. But, it was raining today and the kids were away on a playdate so I decided to work from a photo. 

The image is from a 2014 road trip through Mexico that started in Mexico City and ended in Tulum. We explored six different cities and drove well over 1200 miles.  The photo that I referenced was taken somewhere between San Cristobal De Las Casas and Palenque in the State of Chiapas. The Sierra Madre reach over 13000 feet in this stretch, and I'd guess that we were close to that altitude. 

I often wonder if I'd have the guts (or stupidity) to complete the trip again. It was the greatest adventure of my life, but that's because it was my first road trip outside of the US and I was naive and awestruck.  I didn't even speak Spanish at the time.  I made a list during the trip of all the crazy things we saw and experienced, but it's too long to include here.  

One thing is for sure - if I did do the trip again, I'd add a stop between San Cristobal De Las Casas and Merida.  That leg is 14 hours WITHOUT the pretty serious earthquake that knocked out power and caused mudslides, rock slides, and road and bridge collapses.  Add to those setbacks a non-functioning cigarette lighter that was supposed to be charging our GPS, and a serious case of Montezuma's revenge and...you get the picture.  It is a literal miracle that we found our hotel in Merida.  The GPS had been dead for 400 miles.  The paper map we had did not even show the street that our hotel was located on.  Yet, we arrived.  We arrived without even searching...I honestly can't explain how it happened. 

I've been thinking about this painting ever since. I just didn't think I had the skill to make it turn out the way I wanted it to. I'm still not sure, but that's the reason I keep painting and documenting in this blog.  Year fifteen starts in four days.  I do have a lot of paint leftover after this one - maybe I'll squeeze in one more.  Pretty sure I'd do the trip again.