Thank you, Atlanta Artists Center!

Posted by on 2016-10-19 in Blog | 2 comments

Over the last few months, I’ve become involved with a local organization for promoting visual arts called the Atlanta Artists Center…

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One more for the road…

Posted by on 2016-3-21 in Blog | 0 comments

First of all, I’d like to ask if anyone knows any trick for getting a Soltek easel to come to your door.  I ordered one on Jan.22 and still haven’t received it yet!  I’ve contacted them and they say they are waiting on parts.  Everyone else who sells them says they do not keep them in stock–they only send an order to Soltek once they receive the order.  And Soltek begins construction after that.  It takes 6-8 weeks.  But I have just about maxed that out with no real resolution to the parts problem.  So I’m just stuck waiting, I guess….unless someone can tell me a trick!!

Meadow at Tetons 16x12

But here is my latest that took 3.5 hours, to paint.  And sadly, done again from my photos (not from outside since I have no easel) of a trip to Grand Tetons National Park with my sister, Tena last September.  The good news is I’m getting faster and achieving a signature effect that I can resonate with.  In other words, this feels like my own vision and work and not a copy of someone else’s idea of landscape.  So that’s good.  It’s always good to come from that place inside you that you know is true.  The palette is quite different for me, and I always like exploring different color combinations.

For you artists and collectors of plein air art, I have come across several Facebook groups that show and sell fine work.  They are Plein Air Painters, Online Artists, and Landscape Painters.  There is a wide variety of price ranges and wonderful pieces worth collecting.  I have posted some pieces on these sites and plan to post more.  Even if you are not a collector, it is worth browsing just to see a plethora of beautiful sights and share an enjoyment of the vast talent out there.

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Maybe I’m getting the hang of it….

Posted by on 2016-3-14 in Blog | 2 comments

I’m thinking that I now have the version of plein air that I can finally see myself in.  When I first started this, I felt like I was just blindly feeling my way through it–not really relating to my own work all that well.  I had observed a lot of examples from Plein Air magazine and even read some books on plein air, namely Landscape Painting, Inside and Out by Kevin Macpherson and Painting Light in Oils by Peter Wileman and Malcolm Allsop.  But only my “Sedona Sky” painting (posted in earlier blog) spoke to me until this painting.

Grand Tetons 18x8 1024

I’m still painting from my own photos. Waiting for my easel so I can actually paint outside!!

I’m wondering why I relate to this one and not others.  Why this seems like me while others just seemed like practice.  I think it is that the viewpoint is massively distant.  So maybe I just like a lower level of detail on landscapes and somehow that balances with the idea that in my studio work I work with a close up viewpoint with a similarly streamlined sense of detail.  I don’t know.  Maybe that’s all just over-analysis.  And the real explanation is that I just got into it, period.  Anyway, this one is from my heart.

So I’m wondering if any of the artists out there had a similar experience going from the control of studio work to the variety of factors presented by plein air –or vice versa for that matter.  Did it seem like a natural transition to go from one to the other or did it seem like a totally different animal?  In fact, I understand that most artists do go back and forth between the two, so it must work naturally for at least some.  I would love to understand more about how that works for you.

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Plein Air–Innovation or Expectation?

Posted by on 2016-3-3 in Blog | 4 comments

I’m seriously considering that I’m talking to myself, but decided to move forward with another blog post anyway.


Okay, I’ll answer. I think plein air was started in the 1800’s because, at that time, the art world was consumed by protocol and rules of how art should be done. So much so, that art was just a matter of following the rules—nothing was left to discussion. The subject matter was to teach a lesson or exemplify a moral value, light was handled by doing X, Y, and Z, color was prescribed by chiaroscuro formulas or approaches, etc. etc. In short, being an artist was more about being good at following the rules and had not much at all to do with the artist’s own relationship with the subject, their emotional reaction to the subject, or event personal vision of the subject. Impressionism changed all that. In fact, they so much went against the grain of approved and prescribed art at that time, that they were absolutely rejected and ridiculed by the establishment, the officially sanctioned art of the Académie des Beaux-Arts.


Example of chiaroscuro approved by the Salon

Claude Monet Impression Sunrise

The namesake of impressionism, “Impression Sunrise” by Claude Monet


Plein air was an attempt to establish or re-establish that immediacy with the subject that had been lost with all the rules of the Academy– and also give the artist a voice in reacting to it on a personal and immediate level. What better way to react to the nuances of nature than to be right in the middle of it and literally “be in the moment?”


And I think that the appeal of a personal and immediate response to a subject carries just as much punch now as it ever did. It’s invigorating, refreshing, and totally personal—just as stimulating now as ever—even though now it is mainstream and doesn’t carry the extra fun of rebelling against the establishment. (too bad)


Actually, and here’s the twist in the plot you’ve all been waiting for, if anything, it IS the establishment now. Kind of ironic! These brief suggestions of form and space have become a mainstream way of depicting landscapes. So much so that most art galleries are filled with mostly or nothing but plein air paintings. Now not all of them have been completely done outdoors, but they carry the signature qualities of immediacy in air and light and use abbreviated form—suggested form instead of endless details.


WEEK TWO FORUM: If you don’t do plein air, it may be hard to get accepted as a landscape artist. At least, you could say it puts you in the minority or at a disadvantage. Agree or disagree?

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All About Plein Air

Posted by on 2016-2-9 in Blog | 2 comments

Plein Air is the new hotspot for enjoying and marketing art– benefitting the artists and those who wish to support the arts. Professionals and novices can join in on this blog to learn and reflect on the benefits, educate others on new approaches, in fact, just about everything about plein air.

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Olmsted Plein Air Invitational

Posted by on 2016-2-5 in Blog | 0 comments


Looking forward to this amazing event!

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Posted by on 2015-2-12 in Blog, Event | 0 comments

Click to see an impromptu video interview with Meredith at a recent show.

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Interview on Indie Book Publishing with Balboa Press

Posted by on 2014-10-21 in Blog, Event | 0 comments

Click on the title above to hear Indie Book Publishing’s interview with Meredith Cope about her new book, The Gift of Koi.

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