Difficult learning

So much to learn

"Don't paint to hang, paint to learn."
So said Prix de West landscape artist G. Russell Case at the oil painting class I took last month at the National Cowboy and Western Heritage Museum.
"Learn what color does," was another part of his "theology of painting" in the four days. He said if we'd had time, we'd have spent most of the time mixing color. "Mix paint-that's what we do."
I'm learning, slowly, with difficulty, trying to paint in the mornings on the back porch when it's cool. 

Russell Case teaching oil painting

I'm encouraged mainly by one other of his theology "beatitudes, about not getting in a rut, "You're only as good as what you're taking on."
At least I'm "taking on."
Folks who think watercolor is the most difficult of mediums haven't seen me trying to go back and forth from watercolors to oils.
I'm sinning often. "Don 't fiddle," he said, and that's been a problem of mine in watercolor. But nothing compared to what I'm trying in oils.
But I'm learning, the hard way. 
He had me the first day when he mentioned The Art Spirit by Robert Henri, an old copy of which I have heavily marked up.

One of my Dad's oils, over our mantel

So I'm rereading it again, marveling at how little I know, how daunting this effort has been, how much more I admire my Dad's talent that I've been around all my life. But I know from his notebooks even my Dad was constantly learning. 
Here's the latest stage of "Sunset at Ranchos," 8" x 10", of the iconic church of Saint Frances, Ranchos de Taos, New Mexico. 
Next steps, mix more paint, fiddle less. Difficult learning. Difficult challenge.

All mixed up--Learning the hard way with oil

When you paint, you mix colors. I learned that in watercolor long ago--a few colors give you a varied spectrum.
But undertaking--or trying to undertake--oils has been learning the hard way all over again. At the recent oil painting workshop at the National Cowboy and Western Heritage Museum, landscape artist G. Russell Case told us he'd prefer to have us spend most of our time just mixing paint.
After today, trying to take the next steps in an 8 x 10 painting of the church of St. Francis in Ranchos de Taos, N. M.,  I wish he had done it.
Last week I managed to sketch in the outline of the building. Piece of cake--red oxide faintly applied. 

Today, I undertook the next phases. Color triad for harmony in mixing and results: Red-Orange, Blue Green, Red.
1. Start with the darkest. Done. Junipers.
2. Move to the next darkest.
I was pleased with one part of the process today--painting the low wall in the foreground. The shadow by the door was too dark.
3. Since then, darker to lighter and scrumbling a rough in the sky to get rid of the whites, I ended up a little pleased, but seeing all kinds of problems for later corrections.

4. The further I went, missing colors, trying to get the light right, the more eventual adjustments I saw. Translated--I was making too many brush strokes, and the near wall is way too dark.
5. Now the paint is wet, so it must dry as I nurse my frustration, and think about it.
6. All mixed up indeed. Learned--new respect for my artist Dad, Terrence Miller Clark, and his talent in oil painting.
7. More paint to mix--later this week.

On the "theology" of painting-I

"Sunrise at Fajada Butte," Chaco Canyon, N.M., 8 x 10 oil

A week ago I plunged into the world of attempting oil painting, a new "theology" in approaching landscape art.
What you see above is my  somewhat crude result of the intense four day workshop,  "Painting the Canyons of the West," taught by Prix de West artist G. Russell Case, (click to see his web page) at the National Cowboy and Western Heritage Museum.

It's taken me this long to just sit down and try to write about the experience, far beyond anything I could have imagined.

Russell Case discussing painting with his "Fading Tradition."

Russell used the term "theology" in explaining the processes of  oil and landscape painting, including his painting demonstrations, general talks, helpful one-on-one advice with each of us students, and walks through the brand new Prix De West art show in the museum, using selected works as examples.
I'm not sure why I'm exploring oil painting at this stage of my life and art, but something is pushing me. I'm not ready to give up watercolors, as Russell did, but I need to try to grow. (One unintended side lesson, for me at least--I don't agree watercolor is more difficult than oil...I'm so swamped and intimidated with new ideas and information that watercolor seems comfortable.)
Much more to share as my late in life, do-it-yourself art school continues--I've got almost two note books to digest and try to share this journey of mine.
For the record--I'll probably continue to fine tune the above painting...which is my burden, because it is overworked. Every day I seem something else.
By the way, you have to camp at Chaco (20 miles of gravel road off the highway) to get this morning view--which I did 10 years ago.
Below is the group photo of the class, courtesy of  Gretchen Jeane, director of education at the Museum. People from as far away as San Diego, also Kansas City, Little Rock, near Fort Worth, Sayre, and lots of locals.