Jim McVicker Paintings

Friday, October 25, 2013

' The Lake Paintings'

In September I gave a workshop at the Morris Graves property which is now run by the Morris Graves Foundation and offers about nine artists retreats per year. The workshop had 10 painters and lasted three days. Terry and I spent two weeks at the lake. It was one of my most perfect painting experiences. There are no phones, TV, radio, cameras or computers allowed on the property. It's the most peaceful quiet we have had in a long time. We painted everyday from early light to late, ate our meals, read some and slept for the night. I have posted all the work I completed plus the two demos I painted for the workshop. We had sun, some morning fog and a bit of rain. It's a stunning place.

Old Alder 24x30 oil on linen

Demo showing my block in on a grey morning 11x14

Afternoon demo 12x9 The bright yellow stuff is duck weed

Grey Afternoon 12x16 oil on linen on panel

Inside Morris Graves Home 9x12 oil on panel
It rained a lot this day, so I went into the house and painted the
view from the living room out to the lake. It's just as Morris left it.

The Lake, Afternoon Sun 23x36 oil on linen

The Lake, Fog 30x36 oil on linen

The Lake, Morning Sun 18x24 oil on linen

Late Light 24x30 oil on linen

The Lake, Mid-Morning Sun 20x30 oil on linen

Wednesday, September 25, 2013

'Small Summer Plein Air Paintings 2013'

Below are several small on location paintings from this summer. Most of the paintings are one sitting, some two and a couple three or four. I'm not locked into completing small works in one session unless everything falls into place and it works. If the piece needs more I'll bring it out to the spot for another go. Sometimes just a few adjustments in the studio is all the painting needs and rarely do I paint one that feels full and complete after two or so hours of painting without needing another stroke. Once the light shifts beyond that two hour window I usually move on to another painting or site to paint. I think of these as complete paintings and have no plans to work them up into larger studio paintings. Once in awhile I will have a small piece that I'm compelled to work into a large painting using the study. That's really very rare for me as I would much rather bring a large canvas on location to paint my larger works.

Morning Fog, Trinidad 12x16

Hookton Slough 9x12

Hills and Clouds 14x18

Apple Tree and Dog 9x12

Apple Trees-Sunlight 9x12

Baker Beach Afternoon 12x16

Cloud Study 8x12

Memorial Day, Claremont Park 12x16

Eel River Ranch 12x16

Fields Landing II 9x12

Fields Landing 8x12

King Salmon Slough 11x14

King Salmon, Afternoon 9x12

King Salmon, Late Light 9x12

Sky and Trees-Wind 14 1/2 x10

Lola 11x14

King Salmon-Early Morning 8x12

Smoky Morning 8x12

Loleta, September Sky-Afternoon 12x16

Loleta, September Sky-Morning 9x12

Street Scene, Fields Landing (unfinished) 12x16

June Sky 14x18

Clear Morning 8x12

Friday, August 16, 2013

'Winter and Spring 2013 Plein Air Paintings'

Garden Roses, Morning Light
24x30

These plein air painting are mostly the larger landscape works I did on location this winter and spring. In between the rain and fog we had several beautiful days to get outdoors to paint on the north coast of California. Most of January was crisp, dry and sunny. All the paintings were painted just up the road from where Terry and I live or in our garden. The first and third rose paintings were started in the spring of 2012 and brought back out on location this spring. I'll work several sittings on all the larger paintings, often ten or more, with 95 of the work taking place in front of the subject at the same time and lighting conditions each sitting. Very little work was done in the studio. Most paintings only slight changes and touches as I study the work away from the subject. Some require more. Sometimes when a piece is not working I try to see the changes needed to make it work. I will often ask Terry for her input and she will give me insights I had not seen or thought of. Away from nature I always try to see how the piece works as a painting. If I struggle to see what the painting is missing, by going back out on location, it is often revealed to me. I love working from life and the deep connection and energy one feels while landscape painting. It is the experience of painting on location that, as a landscape painter, I thrive on.