With the startup of the 2025 Manotick Art Association Plein Air Program, I thought it might be appropriate to have a Blog about a recent experience I had painting along the Poole Creek in Stittsville. It has the essence of why I paint plein air whenever I can.
Several weeks ago, when strolling down the Poole Creek path, near our home in Amberwood, I stopped to take in the fresh indicators of spring. The buds on the trees were just opening and I could see glimpses of the creek through tangled branches and scarlet stemmed dog wood in a background of shades of yellow and green of new growth. With songbirds calling and answering and trillium and daffodils peeking out, it felt like spring was happening all at once, all around me. And I was inspired to paint.
But how do I express the incredible feelings: the joy of the moment, my appreciation for seeing another spring and the awe of my minuscule contribution in the grand process of nature?
First I went back to my studio to collect my easel, back-back, paintbox and a 11x14 canvas. I walked down the path until I found the same spot and set down my tools. Rather than rush into painting, I took time to form a plan in my mind: a composition that would explore what I was seeing, hearing and feeling.
Finally, with a blank canvas on my easel, I squeezed out 8-10 acrylic colours, then loosely brushed in a composition with a grey wash and a minimum of strokes. In a short time the canvas was dry and the composition had my approval, I began applying colour to all areas of the little canvas. Time and location slipped from my mind and in less than one hour I felt the need to stop painting and step back. As I became aware of my surroundings, I compared the painting to what I had envisioned. It felt successful and I packed up and headed home with a smile.
Back in my studio, some days later, I put a 20x24 canvas on my studio easel and painted 'Poole Creek Symphony for Spring' from the 11x14 canvas propped up nearby. Adjustments to the 20x24 followed over weeks until I was satisfied. And I signed it.
The joys of Plein Air painting,
Charles Spratt
May 2025


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When I was 8 or 9 years old and growing up in the country near Ottawa, ON, occasionally on Saturdays a kind neighbour would drive a group of us downtown to visit the national museums. I clearly remember the day that we visited the National Art Gallery, situated on Elgin Street back then. While we were there, our tour guide sat us down before a large painting (it turned out to be Lake Superior-Georgian Bay by F. M. Varley) and asked us what we liked most about the painting. I came up with some inane comment, like ‘the trees’. To my surprise, the guide’s own suggestion was ‘the wind’. I went home thinking that he was just making something up. You can’t see wind, I said to myself, right? Right!


Some years later, I came up with another answer. Some pictures remind me of somewhere I have been. Seeing the Mona Lisa prompted me to wonder what was on her mind. I gradually came to understand that a person could experience strong feelings from observing art; that when an artist develops a narrative in their work, in a way that motivates a viewer, it can create strong observer impressions. When we pass through a gallery, giving each painting a few seconds of our attention, it’s the ones that strike a personal connection that draw us to look further. They are the ones we will remember.


When I am painting, I become totally absorbed in the process. I loose track of time and when I sense that I can go no further, I put down my brush and I become aware of my surroundings. If I feel that my painting is in some ways capturing my original perceptions, then I know I have some measure of success and I feel exuberant and exhausted.


Hopefully some of my paintings at my booth in the Ten-Collective Exhibition will exhibit the energy that comes to me from plein air painting.




Charlie
April 2025


here to edit.

 That’s a good question.

In my forty some years of painting, I have gotten to know many artists and I came to the realization that most paint for all sorts of reasons. Personally, I get my pleasure from learning new techniques, meeting other artists, showing my work to people who admire art and last but not least, I enjoy painting and helping others to improve their own skills. Marketing and selling my work are necessary tasks.

Art shows can serve artists well in their formative painting years, providing opportunities to expose their work to the public and learning how to evaluate and price their work in the marketplace. I know that because I participated in many of those shows and learned a great deal from them.

A show such as the Ten-Collective is different. The ten selected participants are seasoned artists with years of painting experience. They require a platform that attracts clientele and potential new customers. Spacious booths and professional lighting are essential; a place where artists can display their talents in an atmosphere that exudes quality. The fact that Ten-Collective is repetitive with a history of excellent attendance and good sales is comforting to the artists and clients and builds anticipation for the next one.

That’s why I am excited to be part of the April 26 & 27, 2025 Ten Collective Show at the Mississippi Valley Textile Museum in Almonte, Ont. In all of my years of painting, it ranks with the best art shows in which I have participated.

Hope to see you there.
Charles Spratt OSA CSPWC
February 2025

​ Whether I’m cruising the back roads looking for inspiration or at my easel in my studio with the jazz channel playing, I feel very lucky: blessed with a talent to draw and an insatiable thirst to learn more about art.


I clearly recall, in a moment of clarity, on a rainy evening in 1980, when walking back to my van with a friend after an art class at the Ottawa School of Art. I was 40 yrs old and I stopped in my tracks to express a commitment to myself to get serious about painting. Shortly after that, by chance, I met Grant Tigner, a professional artist and a president of the Ottawa School of Art. Grant would become my friend and mentor until I was forced to abandon oil painting and take up watercolours because I acquired an allergy to solvents. The business of raising a growing family and work were my first priorities, so pursuing art had to be in spare time. Some 20 years later, I retired from work and turned to art with a passion.

Now 46 years later, after standing in the rain and making a promise to myself, I can truly say that its been a great trip thanks to the support of my wife and family, and the many friends, past and present, that have generously shared their knowledge and experience. I do my best to return the favour to others.

I have settled into a painting style that I refer to as my own, despite the fact that it is the result of my experiencing so many different ways to paint with imagination and self-expression.

It’s snowing outside. When the weather clears, there will be paintings to paint. I can’t wait.

Charlie
December 2024

 On a warm afternoon, in late October, I was out scouting for painting ideas. As usual, I had my ancient paint box, easel and several canvasses in the back of my van. Driving along back country roads, I noted that many of the colourful leaves were down and the countryside air had a feeling of winter closing in. I stopped by a creek where I had painted on location before. I got out of my van and while standing there a great blue heron rose silently on giant wings and vanished, out of sight, down the creek.
The silence was palpable and, as I looked around, I began noticing evidences of beaver activity along both shore lines. I sensed that I was not alone. The signs of wildlife activity, made me think about of nature carrying on, oblivious to a world filling up with roads and houses. I needed to paint the creek in fall colours with signs of fallen trees and limbs and still water.
Weeks later I took out my plein air 11x14 sketch that faithfully recorded the fall colours in the tree foliage, grasses, creek and water. I put up a 24x30 blank white canvass. Slowly, referring to my recollections of that day and colours recorded by direct observation, I worked to relive the experience of that fall day in October.
If the painting speaks to you, I will consider it a success.
The joy of painting.
Charlie
November 2024

​ Yes! I muttered to myself when I discovered that it was only a 30 minutes drive from home to the Galilee Retreat location in Arnprior. I have been a long-time member of the East Central Ontario Art Association, ECOAA: signed up 40 years ago when Poul Thrane, Donald Fraser (National Gallery of Canada, Ontario Gallery of Art)) and some others were giving plein air painting lessons in Algonquin Park. The drive there was more like two and a half hours.


The opportunity to paint with other artists and to be inspired by professional instructors at the 3-day workshop in Almonte was enticing, so I signed up. When the time came around, I drove there and from Wednesday until we left on Friday, we painted the Ottawa River, majestic trees and quaint building around the Galilee lands. We exchanged experiences over a glass of wine and dinner each evening, followed by demos and discussion – all of the things that I have missed since the start of Covid and until now. And, I was pleased to learn that the ECOAA organizers had already booked three days in October for next year. I plan to be there.


On the second evening, artists were invited to show their painting results from the first two days. I showed them two 11x14 paintings, explaining that I never finish a canvas outside as I need time in my studio to assess the work under studio lighting. Sometimes a plein air gets worked up, some are rejected and, on occasion, I find a canvas that shows potential for a larger studio canvas. I further explained that progressing to a larger format does not mean copying. Instead, I use the plein air work to generate feelings that could be more fully expressed using a larger canvas. A studio easel and canvas, proper lighting, paints and brushes at hand and the plein air for reference are all I need to engage my artistic instincts.


The Galilee Retreat 16x20 plein air canvas morphing to the 36x36 studio painting is a good example.


Charlie
October 2024  

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Tucked among the weeping willows and a little walking bridge spanning the meandering river that courses its way through Stewart Park, this small stone house makes a beautiful sight. I can’t think of a more lovely location for a home.
On Thursday, September 12th, the MAA Plein Air group settled in for a morning of sketching and painting on what turned out to be a wonderful fall day for the last day of this year’s Plein Air Program. At noon the artists put down their brushes and set up their work near the statue of BIG BEN so everyone could see the results of their efforts. Artists being artists, we all became engrossed in discussions about different painting methods and supplies. Soon after, we proceeded across the road to the historic Codes Mill for lunch in Fiddleheads Restaurant where we talked about new art shows, travels to other painting venues and plans for a MAA plein Air Program for 2025 - all before bidding farewell to everyone until we see each other again at more art events.
What a perfect day that was! And, for myself, to take home a canvas with prospects for a larger canvas, made the experience even more worthwhile. Often, I come across a site that just calls me to set up and paint. That’s when I pause to evaluate my thoughts and work out the best way to put them down on canvas. Forty years of painting experience helps to speed the process. Time flies and when I have gone as far as I can go, I step away, and evaluate. The silence of the moment is golden – a feeling deep down that I have captured a touch of soul. Who could ask for more.
Charlie
September 2024

 The Mill of Kintail Museum is situated on the Mississippi Valley Conservation Lands adjacent to the Indian River, a short drive west from Almonte. It is a special location for visitors and a favourite site for artists. I particularly enjoy viewing the wonderful R. Tait Mackenzie sculptures arranged around his studio on the upper floor of the Mill.
The Museum, itself, is located down by the Indian River, nestled in dense forest. Whenever I go there I am always in awe of the mighty trees and shifting patterns of light and shadow that dance on pathways and trails and the massive stone walls of the Mill. The Kaleidoscopic colour, accompanied by the happy sounds rising from the Indian River rapids below, reminding me of sound and light productions that have mesmerized me at different times.
The purposeful arrangements of the historic windows and shutters and the high entrance to the Mackenzie studio add tension to the ambience. And I have a narrative for a painting.
Wallspace , was painted on a recent MAA Plein Air Thursday outing. After working out a composition and setting up my easel down by the river, I became absorbed in blocking in the basics and recording the pulsating shades of colours. Finally, I had enough information to finish the painting at home: No photo necessary. Just carefully mixed brush strokes and a composition outline.
The final effect is a summary of my experience. A moment never to be forgotten, stored along with magnificent memories going back 40 years.
Charlie
​August 2024

 The Nepean Sailing Club is one of the MAA Plein Air most popular painting locations. I arrived early on the Thursday morning, to meet other artists on my list. I was surprised to learn from one of the sailboat owners, that the Nepean Sailing Club (NSC) is the largest sailing club of its kind in Canada, with some 500 boats docked in the harbour overlooking the mighty Ottawa River.
I traveled early, as usual, to give myself time to explore painting locations and get a feeling for the day. There was a heavy cloud formation hanging over the boats, and a promise of sun breaking through. I sensed a tension in the air as activity on the docks stirred.
The idea of arriving early and having the time to look around and get some impressions, without feeling rushed, was paramount to the process that was drilled into me when I first started painting. I watch artists today, arriving late, trying to set up their easels while casting about to see what others are doing, and I figure that they are heading for frustration.
The formula for success, for me, and I have said it many times, is that I don’t set up my easel until I have figured out just what I want to say and how it will be reflected in my painting.
I think Awakening reflects my feelings for that day.
Charlie

 I am often asked, Why do I paint outside so much when I have a studio? I could reply Because I enjoy the outdoors and the fellowship of other painters, or something like that. It’s true, but there is so much more.
With years of training and practise painting en plein air, I have learned to trust my instincts. When I’m out walking with my paints packed, I unconsciously search for subjects that resonates with me: the play of light and shadow, the magnificance of some tall pines, for example - things that give me a sense of wonder and place in this natural world. I stop to listen and I peer into the sky above and the shadows at my feet and all around and let the flood of images coalesce until a composition begins to resolve itself. It’s only when I am comfortable with a basic plan including the canvas size and orientation, I think about setting up my easel and getting out my paints.
The painting process itself will take 1 to 2 hours. During that time I become immersed in the process of painting; lost in the concentration of brush work, colours and the search for meaning. When I sense that the painting is finished I arouse to my surroundings, tired and exhausted.
It’s always a hit and miss situation when dealing with feelings, but when I get it right, I am transformed from a state of intense work to a euphoria of surprise and relief!
From across the road in Burrett’s Rapids, discovering the historic home made me stop in my tracks, wondering about its history. Who built it? How old is it? How the twin doors and spacious veranda fit into the story? I can only guess. Using the reception area as my theme, I painted a 14x11 canvas. After several days with the painting on my studio easel, where I could study it under studio lighting, I made minor colour adjustments, refined a few edges and I was finished.
Satisfaction from a great day!
Charlie Spratt
July 2024