Ending January - Month of Herons

Often the blahs of winter seem to nudge me towards colorful neo-tropical migrants in my art. I remember beginning 2011 with a quick watercolor of an Indigo Bunting. The grays, white and mud browns of winter seem to call out for brighter, warmer colors.

But as this January ends I think it has to be called 'The Month of Herons.' Between the new painting of the two immature Little Blue Herons at Morris Arboretum, the juvenile Black-crowned Night Heron seen at the Manayunk Canal last week and then the comparison of it with the juvenile Yellow-crowned Night Heron seen at the same place in the summer of 2010 it has been a month of herons.

There have also been a number of sparrows, particularly the dead Song Sparrow killed by a backyard cat. But mainly it has been herons.

So as the month ends it makes sense to show the latest version of the immature Little Blue Herons. It has definitely gotten more realistic. I don't think I've ever painted tree bark before, or even had the desire to. And even though this painting started out in an abstract vein something has pulled me toward realism. So for me it is a surprising painting. But part of the enjoyment of art is being surprised.

I think this is about done. If so I'll include it in a show that opens next Saturday and which I'll mention in next post.

Little Blue Herons Continued

Once I went to the larger canvas that I'm using on most recent acrylic I needed to reconfigure my studio. The only place to paint such a large canvas was on a full size easel facing my windows. That meant that all the light was behind the painting and very little in front of it. I was sort of painting in the dark.

Finally yesterday I pulled out some old floodlights that I used to use when photographing artwork for slides. What I saw was a completely new painting. What was previously subtle now looked brash and unfinished. So today I reconfigured the studio once again so that I could both get better natural light and use the floods if I wanted.

I'd already been tending toward realism as the painting developed. Whether it was the better light or something else I've continued in that direction. I've changed the color of the water to closer to what it really was: swampy green rather than deep ultramarine blue. I also changed the light on the foreground tree on which the closest herons sits. Those were the more obvious changes but there were others.

Now that I can see better I know that I'll need to do more. I hope that eventually it will resolve into a unified painting that I'm pleased with. As I continue with acrylic I don't think I'll continue with these blow by blow accounts. But since I started that process with this one it seemed wise to continue. If I finish this by the end of the week it will go into a show on Saturday.

It's a bit harder to get a good photo on this easel so please excuse the off-center quality of the photo.

The Problem with Outdoor Cats

I've always known that feeding outdoor cats and feeding birds was a dangerous combination. I'd just as soon not feed the cats but my wife feels otherwise. One small cat has constantly had his eye on the backyard birds, especially the Song Sparrows. Even the recent addition of a collar and bell did not help the poor Song Sparrow above. The cat got him today as I was working on the Little Blue Heron acrylic.

This is a dilemma that I don't know the answer to. I understand the damage cats do to birds. I also understand that they are meat eaters and that this comes natural to them. My guess is that a bigger yard might help some but that isn't an option.

At least I felt that I should take the opportunity to sketch the dead Song Sparrow.

I had no intention of posting any photos of the acrylic until it looked significantly different. But since I'm posting the Song Sparrow sketch I figured I might as well include the painting too.

Starting a Large Acrylic

Well 'large' is relative I guess. The above painting is 2'x4'. Compared to my work of the last few years, which rarely get above 18", it's large. Compared to my much older abstracts in oil and acrylic, generally around 6'x8', it's not large at all.

In any case this is the painting after about eight hours work over two days. I think it's evident that there's a battle between realism and abstraction. I keep trying to get the pose of the immature Little Blue Heron scratching itself correct while taking great artistic liberties with the rest of the painting.

Who knows where it will go? If it's anything like my old abstractions it may look nothing like this by the time I'm done. On the other hand my recent forays in naturalism may rein my experimental impulses in a bit. One thing I should note is that Henri Matisse's 'Bathers by a River' keeps floating around in the back of my mind. I haven't seen it in years but I know a vague recollection of it is somehow entangled in this painting.

One last thing. Because this painting is large it's hard to get a good photo of it. This photo is very much out of focus, and also photographed in horrible light. As the painting moves along I'll see if I can get some better photos.

Reconciling Naturalism and Abstraction

I was an abstract painter for many, many years. But I've only done one primarily abstract work in the last six or seven years. A few days ago I was sorting through some old frames and canvases from my abstract days. I was hoping that I could salvage a few unused frames to use on my recent bird paintings and drawings.

I found one or two. What I didn't expect to find were some primed but unpainted canvases all set to be painted on. Nor did I expect to be taken with some of the old abstract paintings I found.

I put a lot of work into my abstract work. I consider them very accomplished (even if the rest of the world doesn't). Most of those paintings I remember well. But I'd forgotten about some of these smaller works that had been banished to the basement. One of them is at the top of this post. It's an acrylic, about 32x32 inches. Since I can't remember what I originally called it, or if I even named it, I'm temporarily calling it 'Sit Still.' This for the slightly rocking, off-balance quality that it has. It might not be evident in the photo but there is much visible underpainting in this. It comes from changing, changing and changing until I felt that everything, shape, color, balance all fit together. In many of these works there's a balance that, at least to me, always seems about to fall apart.

One of the unpainted canvases I found was an odd 2'x4' shape. I don't like such strong horizontal, or vertical if you turn it on its side, formats. I can't imagine why I made one in such a size. But beggars can't be choosers, don't look a gift horse in the mouth, etc., etc. My recent return to acrylic painting has been limited to canvases not much larger than 18 inches in the largest dimension. I've been happy with them but they seem like studies. I used to paint 6'x8' paintings. So this fairly large found canvas seemed like a good opportunity.

Because it's such a strong format many things wouldn't work on it. Sometimes sketchbooks are sold in this shape and called 'landscape' format. It does lend itself to some panoramic landscape scenes.

I haven't done much work like that, especially work that includes birds. But I did remember one recent ink and watercolor sketch that might work. It is the painting of an immature Little Blue Heron with a Painted Turtle on a log above. It's really not that horizontal but I might be able to improvise on it.

That thought led me to this earlier watercolor of immature Little Blues, itself a composite of numerous sketches and photos.

This morning I did some preliminary sketches combining these two works in various ways, using a very strong horizontal format. They're at top, beneath the abstract painting.

I suppose this might seem very odd compared to the realism of my recent sparrow works. I probably wouldn't have done it if I hadn't run across the abstract acrylic, realized how much I liked it, and then found the blank canvases.

I sometimes wonder if art should not be split so much into abstract and realistic as urban and rural, or perhaps modern and traditional. For most of my life I've preferred the modern and the urban to the traditional and the rural. But never exclusively. Even in the height of my infatuation with Matisse and Picasso I admired people like Chardin and his quiet still lifes. Since I've been working naturalistically I've stayed closer to the traditional, rural, respectful of nature and not willing to take liberties with it. I still don't like the idea of possibly cheapening it by using it as just a frame for abstraction. But I think it may be possible to avoid that. In any case I think I'll be trying it soon on that odd, horizontal canvas Many of my lincouts tend more toward abstraction but never so far as the painting at the top. I'm guessing that this new painting will go even further toward abstraction, but I might be surprised.

Winterizing

I knew that it couldn't be true -- 6 to 10 inches of snow this weekend for Philadelphia. It's still October. We often don't get snow until January! And yet that's the current forecast.

But the House Sparrows at my studio window feeder looked like they might be preparing for snow. The sketch above is based on sparrows at my window. When there are a lot of them feeding frantically I can assure you that they don't sit still for long. Most of the time they're fighting. Just as I start one another sparrow lands on or near him or her and starts fighting. Often I can only get one line down, like the breast in the female at lower left, before the bird is gone. I need to try to remember the rest of the bird. Or, wait until another bird takes a similar pose.

This may seem either silly or masochistic. But it actually is fun. You're forced to really think about how the bird is put together. For instance you may need to put a head on a sparrow, as I did at lower left. Inevitably some things will be wrong. But just as true is the fact that you might capture some sense of life. And you do get more familiar with the birds you're sketching.

For this I'm using a Bic 537R ball point pen. It's extraordinary how much the ink runs when water touches it. Normally this would be a catastrophe. But here I like it. It's a very quick way to change a drawing into a painting, or at least a wash drawing. And you never know what surprises you might get.

Just as the sparrows are winterizing I've been doing the same, along with my wife, around the house and garden. Today just in time for the cold and snow I finished making some new windows for our cold frame. These are metal windows that I picked up off the street years ago thinking that they might come in handy. But they need a wooden frame to work as tops for the cold frame. I spent the last few days using a Stanley handheld multiplane to dado out grooves in some 2x2s to put the window into. They're not perfect but they look like they should keep the cold out. So my many choi seedlings will I hope be able to grow to a usable state. And my poor little basil seedlings, planted very late as you can guess, may survive long enough to give a bit of basil flavor to November and perhaps December meals.

Between this type of winterizing work, preparing frames and mats for the MRAC show, and getting end of warm weather birding in before it's too late I haven't done much in the way of art. When that happens I often feel like I need to do some sort of doodling, sort of thoughtless art, to warm myself and figure out where I want to go.

Recently I've done some of that with the runny ball point pen and a Stillman & Birn Gamma sketchbook. But that sketchbook isn't made for strong washes. So I finally broke down and bought a Delta sketchbook with a much heavier paper. I really wanted to try it out. So that's what you see above: the same Bic pen, watercolor and the Delta paper. This shows the immature Little Blue Heron that I saw at Morris Arboretum this summer along with a Painted Turtle, happily looking in the opposite direction as the heron. I've always tempted to do something with it. This seemed like the perfect opportunity to take that composition out for a spin.

I do really like the ability to test out compositions like this. Eventually it or some of the other recent similar experiments should end up as paintings or prints.

Those Little Blues

Sometimes when I struggle with identifying an unusual bird I like to do some sort of art work that solidifies what I learned about the bird. Often though I get seduced along the way by other factors. In this case I liked the idea of showing a second Little Blue a bit further back. That meant less space for the primary bird and thus not much detail So I never really did much detail on the bill. And the greenish legs, a diagnostic characteristic, get lost a bit in the overall green of the painting.

So it has ended up being a more artistic painting than a scientific one. Still there are elements of both. And sometimes you just need to get started. With this done I wouldn't be surprised if I eventually try a few more of this subject.

Finally I like the idea of commemorating this unusual event for Philadelphia. I'm happy with that. Now I just need to do another, slightly more vibrant painting.

This painting by the way is much more satisfying than the two I did of the White Ibis at Tinicum last month. I think that's because of the effort spent in just identifying the birds. Also I never saw the birds like this. It's a composition of other real life scenes. It's almost always more exciting to try something like that.

Little Blue Seems to Win

Errands brought me into the vicinity of Morris Arboretum this morning so I had to stop and take a look at the mystery heron/egret. I'd pretty much decided it was a Snowy, based mainly on the markings under the eye, the typical poses which seemed more like a Snowy and the relative rarity of Little Blues.

I took numerous photos and did some more sketches. While there I ran into some people who told me a local birder had called them immature Little Blues. I wasn't convinced.

But when I got home I did pull out one more guide to look through. This one, the Stokes, showed a photo much like what I'd seen. And seeing it again it was hard to deny that the legs were one solid color and that was more green than yellow. Also the bill does seem broader and thicker and bends down more than I think is true of the Snowy. Things that leave me with some doubts though: the markings of bill under eye seem more like Snowy, and the poses seemed more like the many Snowies I've seen than like the few Little Blues. Nonetheless I think immature Little Blue is correct.

In spite of many views of the last post I heard nothing from anyone on PA rare bird listserv with their thoughts. Perhaps with these additional photos. AND they have: a number of people have confirmed this as an immature Little Blue. Thanks to you all for your emails.

Above a sketch of an immature Great Blue Heron, which has been at Morris last couple of days.

Another sketch of the Solitary Sandpiper, an Eastern Kingbird and just the start of what I'd guess was a Willow Flycatcher. Also the Little Blue, which didn't sit still for long, and a far-off Red-bellied Woodpecker.

Finally a Green Heron, one of two I saw today, and more sketches of the immature Little Blue, which just wouldn't sit still.

Snowy Egret or Little Blue at Morris

Every once in awhile I'm out birding and sketching and am not sure about the ID on a bird. Such is the case above. The pale bill is the first thing that threw me. I'm used to seeing Great Egrets at Morris and assumed that's what it was. But the color of bill and legs seemed wrong. Size is always hard to gauge without something to compare a bird to but it seemed small.

When I got home and consulted my guides it seemed almost as likely to be a juvenile Little Blue Heron as a juvenile Snow Egret primarily due to color of bill. But the actual shape of bill, and the greater rarity of a Little Blue, make me tend toward a Snowy. I've posted a query to the Audubon PA rare bird listserv and am posting the photos above so that anyone who reads that post can check these photos.

I was primarily interested in doing field sketches at Morris but I didn't get far with the two mystery egrets. Only toward the end of my visit did I realize that there were two. Most of the day I was looking at just one but it was just too far away to get a good look at in scope, and it rarely stood still. The sketch above shows it as well as a juvenile male Wood Duck and a Great Blue Heron that was scratching his head.

Below a few more field sketches. First a Solitary Sandpiper, with a bill that seemed suprisingly sharp and long, a Twelve-Spotted Skimmer and the same Great Blue Heron.

And second: a female House Sparrow, sketched at home before heading out, another 12-Spotted Skimmer, a Northern Rough-winged Swallow, a Painted Turtle in two poses, and a Great Blue Heron just after it flew over my head.

And finally another Odd and End. This is a Caran d'Ache Neocolor II crayon with wash based on some photos of Common Moorhens seen at Metzger Marsh in May, 2011.