Monet Teaches How to Hunt

Sunset out my Window, Oil by C.t. Rasmuss  10x8".

     Last night I finished up watching an original BBC miniseries on The Impressionists, it was told through the account of Claude Monet, 'the leader' of the movement; something I gained from the 177 minute partial account of this monumental art movement was: his 'hunting for the moment' (capturing the moment).
     And where the painting above is stem from, I have lived with such a view out my window for 1 year and almost 6 months; never once have I painted this beautiful and generous view.  What a shame, as I've thought about it many times, but never able to pull the trigger so to speak.  And this is why I read, buy many books, visit museum after museum, and watch many films about the masters.

On top of Mt. Bradbury enpleinair  Oil by C.t. Rasmuss  10x8"

    On top of Mt. Bradbury is my 3rd painting out of a series of 11: where I'm recuperating the $55 park fee I paid for 2018(at $5 per entry); funny thing, the entrance to Mt Bradbury State Park was free the day I went there, so technically I've still got 9 to go lol!  Interesting side note: this was the 1st official mountain I'd ever climbed (elevation of only 407 ft. but still..), and I tell you what I'm really out of shape much more than I thought!!

This next oil was on the Eastern Promenade, where I do almost 50% of my work out of doors lately:

Eastern Promenade  Oil by C.t. Rasmuss 10x8"

The next two series of works are: 1.of a still life in which I bought some fresh cut flowers, I intended to do more work from the still life but ran out of time:

Modernist Still Life  Pastels on Paper by C.t. Rasmuss 16x20"

  2.The chess board study is from my recent museum trip to Bates College Art Museum; 1st time there, the drawing is from an exhibit on Maine legend, Dahlov Ipcar, who passed away last year at age of 99(same age as Georgia O'Keefe):

Study of Dahlov Ipcar 1976 Painting Graphite on paper by C.t.Rasmuss 14x11"

Just for fun, this last one was from a coloring exercise of a Dahlov Ipcar composition at the Bates:

Painting Reality in The 21st Century

Richmond Island En Plein Air study in oil(alkyd) by C.T. Rasmuss

     In the case you have or haven't read my last post, this is number 3 on the year as far as paying for my $55 park pass, which is now $15 on the year($40 to go).  Now this isn't the lone reason I'm painting the scene of Richmond Island here, but it's good motivation for me to get out this summer and paint a good number of outdoor paintings, or studies what ever you prefer; doesn't matter much to me since all art in reality is just a study of the Grand Scheme of things!

     Speaking of reality, yes I'm aware of the reality that the art world considers Plein air painting as long dead(kitch), along with painting sailboats, the ocean, and perhaps anything recognizable or even moral much of the time; but I don't paint for the art-world and I certainly outgrew my need to be accepted or popular long ago.  I believe in the true world made by the greatest creator of all-GOD!!!   Although much of the time The World seems to have gone Mad, and the art-world with it:

    I'm gonna do the best damn! job I can of embracing every bit of reality in which I can latch onto, it's my perception that with the hopes that I'll be able to communicate this same hope others, those who are in the same boat, wanting to survive these crashing waves of modern day civil destruction.

preliminary sketch of Richmond Island, Graphite on paper C.t. Rasmuss

     Don't let the despair of what the world seems to want to make you see, but search tirelessly with the rest of us that search for GOD, trust me he speaks to us all, every moment of existence, you just have to find a way to listen and communicate, as do I.  So this may be an outdated method of painting to the art world, but I don't paint for them I paint for myself, my soul and a way to share with others what I've been up to:) 

sketch of Portland Headlight in cartouche, Graphite on paper, C.t. Rasmuss

En Plein Air in Cape Elizabeth, Maine

     The image your about to see is not my best photo of an image I've ever taken, but certainly not the worst; however the photos of the actual site off the Atlantic coast in which I painted are not so bad, as they were taken from a camera phone.  Also the small composition sketch served its original purpose, as to which the final outcome of the actual oil painting I'm well pleased:

     I'm at the mercy of the public library, and the photo editor choice is between Paint and Gimp, Paint sucks and Gimp is beyond me.  So this is the best I can do today as I have a limited amount of time here.

     Whats really important to communicate in this post is my basic process of En Plein air, particularly the day last week which I painted this seascape.  In reverse order the photos are: but I arrive at the ocean front, pay my parking fee which is normally 5 dollars, but I bought a Maine State parks pass at $55 for the entire year.  This park was 2 Lights State Park in Cape Elizabeth, next time I'm going to go on top of an old military bunker and paint a view of Richmond Island from the view at Two Lights.

     Anyhow one of my missions this summer was to at least do 12 paintings in the surrounding State parks, that way I'll at least break even on the pass, good motivation I suppose; but back to my process, the short and sweet version as the accompanying pictures(again in reverse order) should be worth a thousand words:

     I set up my easel, scout the area for best placement of said easel, draw the composition I decide on, if it works then I snap a photo or two, if not I sketch another composition and finalize my easel placement once I'm satisfied w/ a composition, I then paint til I'm finished, snap more photos as I see fit, break camp and then go home...with a grand smile of accomplishment!  

    Then start the process all over again as soon as I'm able, It's already late August, and I still have 10 to go..lol!  Wish me luck;)

Daniel Carter Beard Bridge; 1st 'En Plein Air' of 2015

Today, May 4th was my first oil painting of 2015 that I'd attempted outside - en plein air; I intended to try painting outside this past winter in January or February to capture the beauty of virgin snow, but failed to do so, and making this victory that much sweeter!

The painting I posted above was just one sitting which I finished in under 2 hours today because I ran out of time, question now is: "am I done?" well funny thing is; as the alarm on my phone went off, telling me time was up: my last two brush strokes felt so good, telling me it was perfect timing to end it.

I could just as easily continue on this painting: adding detail, fixing lines, color, etc. but when it feels right, its right, and that's pretty much all I have to say..."on to the next" as they say.

This photo is where I was today and painted from, I was on a hill and had a great spot today, as I've painted this bridge a few times before.  There's one specifically that I did last year was on flat ground further up the bank, and it took more than one sitting; Although I didn't paint it at the river bank, but instead at home outside in my backyard.  

I just sold it last month and will miss it, but I'm definitely, as always, excited to move on in search of something better!

***After taking a quick break from writing this blog, unfortunately it has now come to my attention via my lovely girlfriend Michelle, that my painting could use a few finishing touches.  Ones that I could either agree with or dismiss, proving that an artists work is never truly done until they're completely satisfied, and due to this latest critique by such a treasured opinion, I must retract my: "when it feels right its right" conclusion and wait patiently til it drys; and try once again for a happy ENDing..

Sunflower Harvest - 2014 by C.T. Rasmuss.

My last oil, en plein air, inspired me so much, by way of process and every which way; that I've decided to get my butt going again: before fall arrives I'm planning do a another oil, this time on Sunflowers that I grew this summer.

I figure now to do a series on all 4 seasons, as I just purchased 3 additional canvases for a great price of the same size, the same size as my 'Matisse Garden', the en plein air which I'm referring to.  The canvases are 18" x 24" which I feel are perfect for a still life -floral- as they're also easy to view and carry back and forth to and fro from my studio.

I chose the best 12 photos I took and cleaned them up the best I could, same as last time, weather permitting, I hope to paint it's entirety outdoors, where I'll arrange the photos onto the canvas and alternate them as I see fit, creating an overall, natural composition in harmony with the outdoor mood I'm in:

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Link to: Matisse Garden - en plein air, an oil by C.T. Rasmuss.

Matisse Garden; C.T. Rasmuss, oil; in process (June 2014).

Matisse Garden  C.T. Rasmuss, oil; 18"x24" (June 2014).

 

  In this journey, this is what I have so far; good start I think- after only a few hours, when I had to stop cause I thought it was gonna rain.  I usually don't care about a little unexpected water, but since I'm working in oil with this one, I figured I take no chances(oil paintings-have a special meaning to me as it is also so in the traditional art world, who says I'm not a conformist?? haha).

 

So for this piece which I'm working on, I added: Liquin- quickens drying time, 1st time I used it since art school; due to working en plein air, and considering the un-predictable weather-time.  I 1st then took pictures of all the flowers I'm going to paint in this Floral-still Life, as I mentioned in my notes before starting all this today: "I have a specific goal in mind, yet the result is never known & can never be completely pre-meditated.", and so, had came true once again.

 

One intention I had in mind was to add my signature geometric-pattern to the foreground(as far as I know so for the last 5 years  or so it's been), another was a mix between Rouault and my earlier works with a self-imposed frame(Seurat and many pointillists did this but that's another story and style), but this frame isn't ready to be introduced yet; but what was introduced completely unexpectedly was the Matisse style floral columns. 

 

Here I've used my signature columns for my backgrounds many times, to compliment my geometric foregrounds, but not in this manner, In this painting I've unexpectedly and delightfully been influenced by Henri Matisse.

 

And these some of the flowers in my garden/planters and a few from my neighbor's planters for a stronger palette(all taken with the ease of my I-phone and later edited for better quality):

 

Pay special attencion to the last(#6) purple/green plant w/ little delicate white flowers, it's the inspiration for the Matisse style columns, white flowers soon to come...

 

 



Just now I searched the internet a bit and found a great example of Matisse's floral patterns he was famous for incorporating especially in his Still-lifes, this one particularly, mine closely resembles, fate?? I believe it's possible:

Still Life - Histoire Juives  Henri Matisse, oil.