Painting in public

The wonderful world of plein air can certainly be euphoric particularly if it is done in a group or with at least one other person. There is nothing quite like it and it will improve not only the observational skills of artists but also the whole painting process. I read recently that the awkward questions or statements of those coming up to take a look are mainly a way of reaching out to the artist and should be responded to in a positive manner. Plein air paintings nearly always have more about them than studio work, as we tend to capture the moment instead of the visual facts. For years I could not see the benefit of outdoor work till I tried it – I wish I had started it a long time ago.

One of the many reasons my husband and I live in central Mexico is we both love painting en plein air and can do so year round! Rarely is there down time due to weather. People here love to see painters….it doesn’t matter how bad it is , you always get encouraging comments . Congratulations is their favorite comment. Don’t be intimidated I tell my students you’ll be too busy painting and trying to figure out what you’re doing to worry about what people are thinking. The mere fact that you’ve got your stuff set up and pencil or brush in hand, you already look like a pro.! San Miguel de Allende

I once overheard someone sitting nearby my painting spot at an out door cafe say to his friend…It looks pretty good when you get way back away from it. I’m assuming he was talking about my hat!

I took a workshop from Frank Eber a few years ago and he was terrific–both a good teacher and a brilliant watercolorist.

Painting in public is a process all plein air painters should quickly get used to. The only way to overcome anxiety about this is -just do it – and often. I deliberately put myself out there where people could and would interrupt me. I even let some paint on my canvas (then fix it when they leave) but I do this every infrequently. The point is its very beneficial to have people watch over your shoulder. Let them talk to you. The thing we are most afraid of isn’t painting in public, its the fear that they may know more than we do or they think you stink as a painter. Trust me, You are the expert no matter what level you are at. They know nothing about how you think or the concept you’re trying to achieve. Do it now and do it often. Eventually, you won’t even notice the talkers.

I have painted plein-air for 30 years. Nearly 20 teaching, wandering the local countryside. So many times I have said many of things you are talking about, big hats, the buddy or group painting. This a must today for women, I have also taken my large dog (black Lab) along. One thing I have encouraged is “no”canned pop and do not make eye contact. Then you have entered into a discussion of some sort. This draws away, valuable “light” time, shadows change and paint dries. Cellphones today are an asset for female painters out alone or with a buddy.

I agree about painting in public. It’s sometimes irritating to have people drop by and state the dumbest thoughts… like “did you paint that?” Or, “when you’re done you should come to my house, it needs a paint job… haha.”

I have a tip for those who need or enjoy privacy while En Plein Air. Just put a “tip jar” on or near your easel with a large enough sign for approachers to see. It works for me in crowded areas where I need more concentration in my work. Occasionally I even get a $1 or two…..enough for a coffee!

Everybody is an ‘expert’ in their own minds. ‘…. but personally I can’t even draw a straight line’ -as if that is anything to do with Art. But it gives one the opportunity to point out that there are no straight lines in nature.

My daughters Lydia, Alice and I participated in plein air painting sponsored by the Mcdougall Cottage in Grand River Cambridge County, Ontario. It was my first time to do landscape plein air. It was a beautiful day and we picked a location in the park along side the Grand River. There is a look out with a concrete path where people can walk and ride there bikes fenced on the side of the river. On this section of the river you can see two bridges on opposite sides. It is a beautiful site and both sides are idyllic for painting. The “great Bard” could have had been inspired to write his dramas. So there is no place more public than where we were. People of all ages stopped to look and even their pets looked on. Some of them just looked and walk on but others looked and conversed with us encouraging us and raising us. Some gave their thumbs up. We thanked them for their praises and conversed with them. Some came with their cameras. I think that if we concentrate on our painting while talking pleasantly with people encourages us more. No one made remarks to disparage my work only encouraging me to continue. It is very inspiring and challenging at the same time. Strong gusts of wind were drying out my paints as quickly as I could put apply them on canvas. It is a good learning exercise and would not hesitate to participate again in groups but not going alone on my own.

This one really made me laugh! Also, some of your pieces make me think that much of what you say re: art and artists applies to writing and writers.

Thanks for the click back on Frank Eber. I have a print of a wet street scene by Ralph Avery. Remarkable likeness of style, colorization, so forth.

After years of painting plein air, both in groups and alone, some very good advice I can offer is TRUST YOUR GUT FEELINGS. Most people are wonderful and kind but I was in a situation once where there were five of us painting at a little church outside of Santa Fe. It was a quiet area, a tad remote, and the road was a dead end. A man drove up, got out of his tow truck, and went around to each of us. He had to make a concerted effort to see every painter because we were a little spread out from each other. When he left, everyone convened, which was unusual. Each of us had decided, independently, that we were very creeped out by this person. We packed up and left, unfinished paintings in hand. To this day I have no doubt we made the safe decision.

“Painting in the remote out-of-doors is the best plein air of all. ” I agree with the above quote. I’ve been an outdoor painter for 30 years, both in groups, at professional Paint Out events, and out in the fields and woods by myself. Painting alone is really the best way for me. Groups tend to make the day a social event with little accomplished other than companionship. Give me the fields and woods to myself any day!!

The best advice I have heard, to keep the passing traffic away, is to place the hat a few feet from the easel with some coins in it. Splendid isolation and maybe the price of a free coffee is the result.

I’ve traveled all over the world, working with oil paint, acrylics, watercolors, charcoal and soft pastels. No matter where I am, I look for a comfortable place to sit, in the shade, with my back to the sun. Then I paint whatever is in front of me. Sometimes I find myself staring down an alley, or at some other less-than-picturesque place, but I surrender to painting what I see. It’s a challenge to try to make sense of a complicated subject, and it’s a challenge to work with an audience. Still, a painting I do under challenging circumstances often becomes one of my favorites.

Are you sure you meant to say “some painters welcome intercourse”? Lol Sorry but l couldn’t resist.

As president of the Ontario Plein Air Society (OPAS), I’ve met hundreds of plein air painters, both experienced and brand new. Not one of them has told me of a single negative experience to do with people when painting in public. (A few tried too large a canvas and had them blow across the rocks, but no bad human experiences.) My own experience backs this up. I’ve had people come by and praise my work, when all I was doing was laying down a base colour. People are for the most part simply thrilled to see a “real artist”. I’m rather shy and I thought I was going to die the first time I went out doors to paint. Instead, I had a blast and, as a bonus, my painting abilities improved more in one summer of doing plein air than in the entire time of painting before then. I believe in it so much that I now take people on plein air art retreats and workshops all summer long. And they all love it. If you’re a studio painter, you owe it to yourself to try plein air.

You forgot the bugs! I once counted 17 gnats on one of my paintings! I thought, “now that’s a bona-fide plein air painting!”But certainly the human attention is much more fun. I usually get, “I have a relative that paints.” But every once in a while you get a comment that stops you in your tracks. One women came up to me and wanted to know if I was a famous artist! I wondered how many famous artists she knew? I should have said, “Yes!” One cute young lady wanted to know if I did that free hand? Occasionally someone will come up and say, “I brought my paints with me but haven’t had the courage to unpack them.” I always say, “go get ’em!”

I’ve had some strange things happen when I’ve been painting out of doors, but I’ve never had intercourse.

I learned an excellent technique while on the Amalfi Coast, Italy, with the master, Charles Reid. Dip your brush in the water, then in a swift downward movement, shake the brush from the easel to your side. Follow through. Sightseers will give you wide berth!

Actually, after finishing a reasonably good painting out of doors, a bit of intercourse with others in the group is quite nice providing they are agreeable.

A gentleman was watching my friend paint and finally he said, “That’s nice. I like paintings…you should see the ones mother and I have collected; they are so good that you can’t even tell them from a photograph.” Then he proceeded to sing the praises of the artist who painted them. I could hardly wait for him to leave to hear what my friend had to say. We had a great laugh at all of the responses she could have made and didn’t.

One day, while painting outside, an elderly gentleman and his wife pulled their car off the road and the gentleman leaped out of his car and walked up to my easel. As he did this, his wife leaned her head out of the window and yelled “Did she get it right?” and he yelled back, “She ain’t done much yet, but what she done she done it right.” Another time I was painting a dead character engorged tree and a man stopped his truck in the road and yelled out “There’s a prettier tree right up the road. What are you painting a dead tree for?” People are funny!

I am part of a foursome who paint out in Maine. We have been doing this for 16 years and have encountered many different onlookers. I think this year took the cake! We were painting in Acadia National Park in a place which is backed up to overgrowth and a deep ditch. We were busily painting when a couple came along with cameras. Normal. Without a word, they stepped in front of our easels and took about 5 minutes standing in front and next to each of us. They stood and photographed so close to me, adjusting their camera and leaning this way and that, that they bumped my brush. I felt it was not only rude but hysterical! After they left we four decided that if we were all painting that scene, it most certainly must be worth photographing!! But what we were doing was not worth a comment like, “I know you are painting, but please excuse me” or ” do you mind if I stand in your space for a minute?” Most always people are very chatty and interested in what we are doing, which plein air painters get used to, but this was a first for all of us!!

Funny, in all the years painting out of doors, I’ve never had one person give a disparaging remark. The difference must be in the quality of the work.(!?) :)

Best helpful advise I can actually use. Some of them are very creative but easy to do. Like the hat or iPod. Thanks again Bob!!! You always say it straight up. (I’ve gone back to my maiden name Campbell. My old married name was Bukovnik)

Great article. How interesting that we all seem to have very similar experiences painting plein air. Humans are rather predictable in their reactions to us artists. If a painter really wants to improve his/her studio painting skills, I recommend experiencing plein air. Love it!

The hat comment is curious. Working in the sun demands protection whether you’re in the garden or painting. I can’t imagine an observer not engaging an artist just because of a big hat. I knew a lone woman plein air painter who was always leery of people approaching her from behind without warning. She clamped a rear view bicycle mirror on her easel so she could see behind her.

I agree with the consensus here, plein air painting is a blast, either way, with an audience or all alone. I thought I would die of embarrassment the first time. I decided to bite the bullet and take a plein air workshop. I found in no time I was so wrapped up in my painting I never noticed or cared about any onlookers. After that when painting in more public places, I have never had anything but a whole lot of fun talking to people who generally think if you have a paintbrush in your hand, your are working some sort of magic. I’ve had people bring me fresh baked bread to freshly picked cherries and met some interesting people. Don’t be intimidated…….just do it!

Men are more “exhibitionist” and may naturally take to showing off in public and be more comfortable doing so. This may also account for the fact that most demo doers are men. Take any classroom or club; it’s very often a man demonstrating to a bunch of women.

While sketching in a small town in China children would come up to me and feel the hair on my arms. Then, the smaller ones about 4 years old would laugh at my long nose. Later, teenagers asked for my autograph. What else is that much fun?

I have had nothing but positive remarks. I once gave a short talk to a passing party of schoolchildren encouraging them to try it. Another occasion two little girls maybe 4 or 5 had their noses almost on the paper. I am sure they went home and took out their paints.

My sister and I both paint but her story of a kid asking her what she was doing while painting outside, she replied “cookin’ dinner, what does it look like I’m doing”?? LOL!

In the Fall a few years ago I had an interesting plein air experience. I was standing away from my pastel painting friends at a popular tourist spot. A group of foreign students starting hiking down the trail toward me. They were talking jovially and I anticipated some kind of interaction, but instead they became quiet, stopped smiling and kept a wide berth. Odd, I thought until I looked in the mirror at home and saw a rather bizarre person with disheveled hair, wearing a very weird snowman apron over a torn and battered sweater. My painting must not have helped since I was experimenting with a brightly colored underpainting!!

I do names and meanings of names in calligraphy in public, as well as sketch plein air, the venues I am at, in public. Yesterday as I was doing a name I could hear munching behind me, a youngster was eating an apple and watching me intently, I didn’t break my focus and turn around, I kept on and laughed internally.

Recently three artist friends and I collaborated on a painting that was to be auctioned off at a “Gala” fund-raiser. There were four stages set up in a very large complex. Three stages hosted musical performances and our stage hosted a “live” painting process. We were delighted at the interest shown by the patrons as we painted away. They asked many questions and were obviously intrigued by the entire process. We have all painted “in public” before (on roadsides, in town and at artist gatherings) but painting as a stage “act” was a first. At the end of the evening the painting was one of the pieces auctioned and it drew a substantial bid.

Having taught workshops in St. Lucia for 8 yrs, one day 2 boys of 9yrs. came over to talk, one was small and the other who hung back (obviously the leader looked older) The smaller was interested in what I was doing and asked a lot of questions. I learned they had told their mothers they were sick and were playing hookey instead of being in school, grinning as they told me. I said, that’s really too bad, because you see all these art & crafts supplies I have here are going to be given out later in the day when all the kids come home from school, but you didn’t go, so I guess you won’t be able to get any.He said he liked art & I said if he finished school, he could someday maybe be doing what I was doing.He was silent for a few minutes then they left. A while later the smaller one appeared in his uniform and announced he was going to school. I look at painting as a communication tool that crosses, age, culture, language and any other kind of barrier. I like to think maybe he got something out of our conversation, I know I did…

One of the many reasons my husband and I live in central Mexico is we both love painting en plein air and can do so year round! Rarely down time due to weather. People here love to see painters….it doesn’t matter how bad it is, you always get encouraging comments. Congratulations is their favorite comment. Don’t be intimidated I tell my students you’ll be too busy painting and trying to figure out what you’re doing to worry about what people are thinking. The mere fact that you’ve got your stuff set up and pencil or brush in hand, you already look like a pro.!

I love the passing comment you mentioned, “You should take up painting.” Reminds me of one excursion I made with a large 36″ square canvas. A women spent a few minutes watching me and then said, “that’s pretty good, I’ll bet you could get a hundred dollars for that on the internet.”

My husband, Earl Boley is a painter and I’m a photographer — we both enjoy your insights but this one hit home for him… Earl has painted outdoors for decades and never sees onlookers as problematic – he especially loves painting outdoors in France where people often watch, quietly and respectfully while he does an entire painting – even kids watch quietly for an hour or more.