Charles Warren Eaton

Charles Warren Eaton (1857–1937) was an American artist best known for his tonalist landscapes.

He is remembered in American art history as one of the chief members of the Tonalist movement, along with Henry Ward Ranger, Elliott Daingerfield, and others who benefited from the lessons of French Barbizon painting and, more immediately, from the example of the poetic style of George Inness. 

Guided by his desire to convey the underlying moods of nature, he eschewed grandiose vistas in favor of quieter, more intimate views, which he depicted at dawn or dusk. His landscapes still speak to us in a quiet but consistent way of the beauty of nature and of those unexpected and felicitous moments when the man-made and natural worlds merge into unified and harmonious images.

What I love most about Eaton is the way he flattens his shapes and his way with mood and color. Detail is almost completely sublimated to atmosphere. Also his edge handling is among the best of any Tonalist painter

Old Drawings

Recently I returned from a trip to my home town in California. While there I grabbed an old portfolio full of xeroxs of many of my old drawings. The portfolio was put together in the early 90's but these drawings are from circa 1988. In 1988 I was 23 years old and living in downtown San Jose, California.

This was drawn in pencil. The model put on a lot of weight in later years but then again so have I since 1988!

Pencil again here but a bit later in the year. I was fond of using lead holders at the time with leads from HB to 4B pretty soft range. I really never liked any of the super hard leads. This guy was illustrated on Illustration board about 7 inches wide.

Another pencil sketch. I always enjoyed drawing historical figures. I remember being quiet pleased with the expression as I captured it in the sketch.

Unfortunately these are all copies of photo copies. I have a very heavy suitcase full off original art still at my folks place. One day I hope to get it and scan the entire contents at high resolution. 

Meanwhile, it's fun to play with the images. These were all done in the days long before I was anywhere near a computer and the copiers I had access too, I really couldn't play with until around 1992 or so. 

I will be posting more old works up as we progress as it seems like a fun thing to do.

My Studio

Here's a video of my studio taken a few days ago:

My studio is at the Quarry Arts Center in Whangarei, New Zealand. The Quarry was started by an artist named Yvonne Rust. She was an independent spirit and in many ways her spirit continues at the Quarry.

I've been a resident painter for over a year now and I really enjoy the beauty of the place and the good company of my fellow artists. I am there most week days so drop by if your in Whangarei.

Pay off skies

 Monday here in New Zealand and another blog post.

This painting is called "Summer Storm" sized 8x10 and painted a few months ago.

I feel that every painting that I do should have what I call a "pay off sky". By that I mean the sky should contribute strongly to the emotion and impact of the painting, not just serve as a backdrop to the trees and other landscape elements.

I like lots of color in my skies as well and I've noticed that Hollywood does these days also. I've noted many movies that have almost exclusively used twilight light skies in their outdoor scenes. Movies like the Narnia Chronicles and Avengers come to mind but they're everywhere once you start paying attention.

One of the great, great things I love about New Zealand is the clean air and beautiful skies we have here. I never tire of looking up and noting the differentiated clouds and patterns of our southern skies.

Summer Storm                                                                 M Francis McCarthy

This painting is in the 8x10 format. Until recently I eschewed these proportions but I've since embraced 8x10, 11x14, 9x12 as well as square formats. I will definitely write a post in the future about the different proportions and their relative impact. For now I'll say that different proportions really change the feel of a scene. Below is my 5x7 sketch for "Summer Storm"

Summer Storm (Sketch)                                                       M Francis McCarthy

A different feel for sure and far more panoramic. But more goes on in the change that is quite mysterious. The space containing the scene is one of the most important elements of any scene. Like I said though, this a topic for another blog, another day.

Study vs Finished Painting

I like to do a color study prior to painting my final version of the image. The study below is painted at 5x5 inches. I tend to prep my board with a textured clear gesso stained sepia. I then sketch on the board in charcoal. After that I complete the sketch using burnt sienna and black. finally I go in with color painted in fairly quickly and directly..

Indian Summer (Study)                                                     M Francis McCarthy

Here is the same motif painted at 8x8 inches. Though the size is still quite small you can see the image is far more refined in every way. the method use is much like my studies however more time and care is payed to the initial drawing. Also, there are more layers of transparent color and more time and repeated sessions are applied to the piece shown below.

Indian Summer                                                                   M Francis McCarthy

George Inness

I mentioned George in my last post. Really a huge influence on my painting and a towering figure of 19th century painting. Here's a few of his works:

From Wikipedia:    George Inness (May 1, 1825 – August 3, 1894) was an influential American landscape painter. His work was influenced, in turn, by that of the old masters, the Hudson River school, the Barbizon school, and, finally, by the theology of Emanuel Swedenborg, whose spiritualism found vivid expression in the work of Inness' maturity. Often called "the father of American landscape painting," Inness is best known for these mature works that not only exemplified the Tonalist movement but also displayed an original and uniquely American style.

Before I came across Inness I was influences more by Impressionism. A movement that really caught on again in the 80's and 90's and is now a huge part of the modern landscape painters vocabulary to the point I think that many painters are not even aware of it's pervasive influence.

George Inness was to foremost painter of the late 19th and early 20th century movement called Tonalism. From Wikipedia: 

Tonalism was an artistic style that emerged in the 1880s when American artists began to paint landscape forms with an overall tone of colored atmosphere or mist. Between 1880 and 1915, dark, neutral hues such as gray, brown or blue, often dominated compositions by artists associated with the style. During the late 1890s, American art critics began to use the term "tonal" to describe these works. Two of the leading associated painters were George Inness and James McNeill Whistler.

I'll write more about Tonalism in the future as I have many thoughts about the style that I'd like to share. In a nutshell for now I'll say that to me, it's about creating an evocative, atmospheric approach to the landscape. 

I never have tried to ape George Inness but to any artist familiar with his art the debts I owe him are apparent and I never shy away from acknowledging his great contribution to the art of landscape painting. A contribution that frankly has not made it's way into the minds and hearts of the modern art lover in any way near what George Inness and the modern art viewer deserves

Direct vs Indirect Painting

A welcome friend                                                     M Francis McCarthy

"Why are your paintings so dark?"

I get asked this once in awhile at my studio by visitors. I reply that the paintings are rendered in a lower key than what is currently fashionable. Also, to my eyes many modern landscapes seem excessively bright and their colors too chromatic and lacking in subtlety.

Paintings that are made using transparent or semi opaque layers tend to need a lot more light on them to reveal themselves at their best. For this reason many of these types of paintings benefit from having a light directly on them.

There are two distinct approaches to painting; direct and indirect. Good examples of direct painting are artists like: Monet, William Merritt Chase and Vincent Van Gogh. Good examples of indirect painting are: George Inness, Charles Warren Eaton and Whistler. You can do great stuff either way or by combining the approaches.

I prefer indirect for my final paintings as it can convey multiple layers of mood and color. Also because I can reflect and correct as I go but ideally there is a trail of movement just below the surface that shows the structure as well as the finish. I enjoy painting my oil sketches directly as they are small and quickly realized.

Layering transparent glazes of oil tends to darken as the light source must work it's way through the layers and bounce back to the viewer. More opaque styles reflect the source light more directly from the surface.

Late Summer                                                    M Francis McCarthy

You would think that the study would be lighter but it is dark because I'm heading towards a larger more fully realized version. The study above "Late Summer" has just been more fully painted. I hope to put it up here sometime soon.

As a side bar. On my recent trip to Paris I saw many excellent paintings at the Louvre. Many of them would be considered quite dark. What was interesting to me as a modern painter was the focused use of intent contrasts between the lights and dark's in a painting that drew the views eye to where the painter wanted it. Someting thats hard to do if the whole painting is light.