I wish I had a new paint brush for every time I have been asked “How long does it take you to make a painting?” I stumble for an answer trying not to seem disingenuous or flippant. In the case of a plein air 11”x14” sketch, from set-up to packing up takes 11/2 hours or so, not counting the time driving to a location and choosing the right spot plus possible further studio work.

In the case of a large studio piece, there are numerous contributing factors. Firstly, the inspiration for the work may take weeks or longer before it morphs to the concept stage, followed by composition planning and scaling choices ( ie: 20''x24'' landscape or 40”x40” square) in an effort to produce the best statement. Often it means returning, when possible, to the sketching location to reaffirm the original intent. As a result, there could be many hours invested before there's a brushstroke on a canvas. Some might suggest that the conception and planning stages are not part of the actual painting process; I would argue that they are, in fact, integral. It is paramount that as artists, we take time to examine our own impressions and thoughts as we go about creating and sharing our story.

Once the painting takes form on my canvas, it might only be one or two days to set out the basic plan. Then, there is the process of back-checking the sketches to make sure the painting has the element of truth in it, followed by trial and error corrections and adjustments. Finally, the painting is hung where it can be observed from time to time to make sure it can survive repetitive examinations.

In the case of First Light Version II (above), the inspiration came from memories of a trip to Algonquin Park some years ago with artist friends. This winter, using photos of a painting I did originally, looking out from a cabin on Oxtonque Lake, I began work on a 30x40 canvas to show the solitude and energy of the Park in the depths of a cold January day. That painting, unfortunately, did not survive the repetitive examination test.

So, the process began all over again using a smaller 24x24 canvas. I feel satisfied now, that I got the feeling right this time. It has past scrutiny and received my signature.

How many hours to make a painting? The answer: it is not important. Only the final result counts.

Charlie
January 2022

One place that draws me back to paint in all seasons, is Mount St. Patrick in the Highlands of Renfrew County. Since it is only a 20 minutes drive from Calabogie, I made several painting trips there on days when our PAE group stayed at the Calabogie Peaks Resort this past October.

There is something special there - a sense that time stands still. I am drawn to it by the placid, peaceful Constant Creek winding through the small community with its striking old church and ancient burial grounds. But more than that, I can feel the presence of the heritage left by the Irish settlers that found this place nestled deep in the Madawaska Hills and made it their home.

Would some of the gigantic trees that line the creek have been witnesses to the thriving community with two stores and a blacksmith shop at one time? As I paint I imagine some of the hardships faced by the pioneers and the wonder they must have felt from the natural world surrounding them.

I am told that A.Y Jackson visited Mount St. Patrick as a painting location when he painted the Opeongo Trail from Renfrew to Algonquin Park in the 1950 – 60's, while living in Manotick and Ottawa.

Charlie
November 2021

Sources: www.ayjacksontrail.ca,  Google: Mount St. Patrick Community Ontario

  
What a joy to be out painting with friends again. Finally. With everyone having their two COVID-19 vaccinations and taking precautions, we were able to get started again. The W.A.Taylor Conservation area on the Rideau River was our first destination. A number of the MAA members, who attended, told me how good it felt to be joining the group once more. The last scheduled session will be the 30th of September.


After greeting everyone, I wandered over to the foot bridge that passes over a small creek, thick with vines and undergrowth. The first impression that struck me was like staring through stained glass. I had to try it. Went back to my vehicle, grabbed my easel, paint box and backpack and returned to the site. I setup, sketched in a rough composition, and became totally absorbed in painting for an hour or so. Lighting the Way 16x12 is the result – after several days of studio adjustments until it felt right.

​Charlie
September 2021

When I am visiting the forest, either going for a walk along the Poole Creek for exercise or looking for a composition, I occasionally get a fleeting inspiration – when time and the moment stands still. This occurred recently on a day painting trip to the Ferguson Tree Nursery in Kemptville. I was standing alone at the time on a forest path when the sunlight and silence were shrouded in the mist of light rain. I was inspired to paint while the moment lasted. It never does of course. By the time I had set up and painted a 11x14 sketch the midday sun had broken through, shadows were appearing and foliage was becoming opaque, losing the translucent effect.


Back in my studio, the sketch provided detail. It was also useful to me as a medium to help with my recollection. Reproducing the vibrant colour at my feet, the silence of falling mist and the intimacy of the transient moment was the artistic challenge.


I had to be there – that's the very essence of plein air painting.


Charlie
August 2021

One of the few benefits we get from this COVID 19 pandemic is plenty of time for Zoom visits with family, friends and reminiscing.  Forty years of working non-stop at being an artist, packs away a lot of memories - of workshops and shows and painting trips.

Thinking back on those times - painting in Old Quebec City, setting up along the Icefields Parkway in Banff - I periodically ask myself “What have I gained from those experiences besides good memories?” Certainly, I acquired a serious respect, for the limitless ways artists go about their life’s work, and  many long-lasting friendships.  

And a burning desire to discover better ways to express myself through my art. It’s what keeps me painting.

Recently I was pleased to be asked to be one of several jurors, for an art exhibition; to grade, all the entries without the benefit of interviewing the artists. I dutifully applied my experience and knowledge in making my judgements, but in each case,I could only guess at the artist’s intent.  I find it difficult to separate the work from the artist.  Similarly, when I am asked to critique someone’s work. I need some dialog with the artist so that my remarks can be both personal and thoughtful.

But I digress, memories and nostalgia are important to me. They give me a foundation on which to move forward. I am convinced that the work I am doing now is the best work I have ever done. It’s been a great road to travel with no end in sight.
 
Charlie Spratt
June 2021

One of Patricia and my special treats, before COVID-19 that is, was dinning at Cabotto’s Restaurant on Hazeldean Road in Stittsville. Not only is the food and presentation at this award-winning restaurant special but just walking through the front door of this 155-year-old stone Ontario Heritage building is a warm and welcoming experience. The restaurant offers six dining areas and two fireplaces surrounded by stained glass windows and white tablecloths.

The building itself has a lot of history, I discovered. Originally called Kemp’s Tavern, it was built in 1868 to serve as a respite for horse and buggy travelers. It survived the Great Carleton Fire in 1870 that ripped through 250,000 acres, from Ottawa to Smith Falls and Carleton Place two years later. With the advent of the CPR railroad in 1871, there was a reduction in traveling customers and the building was eventually sold. Following a series of owners, in 1982 it became Checquer’s restaurant.

In 2003 Mr. Vinncenzo Pucci purchased the property and relocated Cabotta’s Restaurant there. It remains owned and operated by the Pucci family.
Charlie
May 1, 2021

Sadly, I just read of the passing of Vermont artist Richard Schmid at the age of 87. There will be some artists that won't recognize the name. He was not the type to seek publicity, even though his paintings have become very valuable. I have followed his career for many years. Primarily a plein air painter, Richard Schmid took his Impressionist realistic work to the highest levels in his studio. His art and painting process has been a beacon for me. He led by example, demonstrating plein air techniques without short cuts or showmanship. Today, his art books and teaching videos are widely treasured, including myself.
Unfortunately, I never had the opportunity to meet this quiet gentleman. I admit that his beautiful paintings derived directly from nature – alla prima - have had some influence on my work. His memory will remain for as long as I can lift a brush.
For more information, go to: www.Richardschmidofficialsite
Charlie
April 2021