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  

​


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

 For the third Thursday Manotick Art Association members found themselves, painting plein air, in a magical garden. A record 17 artists settled down with easels and paints among majestic pines and gardens to paint the flowers, trees and the gorgeous setting. The stately home in shadow made a great backdrop for the flowers: brilliant in the sun. It was a magic day.

 We decided to start sooner this year because Spring came so early. And we were not disappointed. 15 artists turned out to enjoy the warm sunny day in Dickinson Square in Manotick.
There were questions about finding an outdoor easel, what paints to bring etc. but mostly the artists spread out and got down to the business of painting. By noon most were ready to pack it in and get away. Before we left a number of artists presented their work for others to see.
Hopefully the weather will be so kind for rest of the outings, but that’s the luck of plein air painting.
Don’t forget bug spray too.
See you all next time.
Charlie


Some may notice the changes that I made to my painting in Manotick on our first painting trip, after I had returned to my studio. I’ve heard it said that ‘ a real plein air painting should start and finish in the field ’. I make changes and colour correct in my studio under indoor lighting. For me, the plein air process plays a major step, part of  the development of a finished painting. Charlie

 It’s early May and the warm temperatures, sunny days and frequent rainy spells, has brought on the colours of spring in breath-takingly short order. It’s as if the road travelled has changed, unrecognizably, over night; the path has come alive with sounds of song birds.


Despite all the negative news we read and hear about, we can still rejoice at Nature fulfilling our expectations once again. But how can we express these uplifting feelings in our paintings? Any photos I take never seem to capture the spontaneous rapture I feel when surrounded by nature’s energy and pulsing saturated colour.


My radar kicks in and I automatically begin to see possibilities for a painting. I tell myself to stop for a moment, take some time to listen to the sounds and observe the transient sunlight moving through the trees. We are in Blakeney Park today, near Almonte, where the mighty Mississippi River flows over rocks and cliffs and forms small waterways through the forest. The winding paths cross over several foot bridges. I found one colourful bridge that seemed to blend in with the new growth energy, yet placidly leads us over a gentle stream.


When I had a plan, I began to paint with vigour. The one-hour 11 x 14 sketch was rough but it had the feeling. In the studio it became my source for a 24x24 painting. No photo required.


Plein Air Painting is a bit of a hit-or-miss thing. If I miss the mark of what I experience out there – there is always another day and another canvass. And when I get it right my excitement is palpable.


The Manotick Art Association Plein Air adventures For MAA members are starting on Thursday, May 23 at Dickinson Square in Manotick at 9:30 am.

11x14 Sketch                                                       Blakeney Bridge 24x24

     It feels sooo great to be out painting when spring breaks. The temperature has to rise well above freezing for my acrylics to work well outside – and for me too! We experienced a warm spell earlier: too soon for buds and grasses to have any colour and many of the waterways were still iced over. But now, going into April the spring colours are coming out. A wonderful time to be outside.
     Over the past month, I had driven by this spot a number times waiting for the warmth of spring to take effect and last week I was rewarded. It was around 3 pm when the shadows begin to lengthen and light takes on a warm yellow cast. Remnants of snow signalled  the shoreline and with the multi colours of yellows and soft reds vibrating, the effect was startling. The complement colour of blue-violet, pulsed in the background.
      No urge to take pictures. I set a 16x20 canvas on my easel and do my best to keep it out of the direct sun. Such a strong motif! No need to define detail, that’s for later. The time and place is now. I squeeze my colours out: warm and cool blues, reds, yellows plus orange and white. With a 1” brush I mix and paint and repaint until the canvas sings with feelings. An hour later, I rest. The sun has slipped lower and I’m satisfied that I have captured the essence.
      Back in studio I make some minor changes over several days and call it finished. No better feeling for an artist.
Charlie,
April 2024