 Painting with acrylics in Algonquin Park Artists ask me about using acrylics. Often or not, they are interested in trying another medium or looking for an alternative to oil paints and solvents. Many years ago, when I developed an allergy that forced me to stop painting with oils, acrylics were not available and I turned to watercolours. Year's later, I experimented with new acrylic products when they appeared in art stores and I quickly learned to appreciate their many benefits. At first it was all new to me. The painting skills that I developed, with oils and watercolours, helped me to make the transition. Still, I sensed that acrylics were not receiving the respect reserved for oil paintings by artists and the public at large.
But times have changed. Acrylic paint has replaced most of the traditional jobs in our daily life that were done using oil-based paint and any gap between the price of an acrylic painting and an oil has disappeared. I discovered that the combination of professional, light-fast pigments and the versatile, polymer emulsion make for an extremely flexible permanent medium. By some accounts, acrylics are now the most popular artist medium in the world! Yes, acrylics do dry quickly, specially on a hot summer day, and they are affected by cold temperatures in winter, when painting outside. It's a matter of the artist adopting to the medium. There are a multitude of techniques applicable with this modern-day medium: dripping, pouring, glazing, air brushing and mixed media , just to name a few, achieving incredible effects applied to a wide range of supports. The work is dry in 10 minutes allowing for corrections and changes as the painting continues. Packing up to travel is easy and quick; the clean up with soap and water is a bonus. Personally, I prefer good old-fashion brush strokes on stretched canvas, using professional grade heavy body acrylics, synthetic brushes, water and an acrylic glazing medium. Time to get back to my studio and grab a brush. . . . Charlie December 2021
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 #2211004 Mount St. Patrick Bridge 16x20 acrylic 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  Just finished. Passing Moment, Mount St. Patrick, Calabogie 11x14 acrylic. The painting began on our Plein Air Ensemble (PAE) trip to Calabogie Peaks Resort two weeks ago where 26 artists celebrated 30 years of continuous PAE spring and fall painting trips, by staying at the exact same location where we kicked off our first trip 31 years ago!
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 Charlie painting at W.A.Taylor Park - photograph courtesy Paul Powers |  #221987 Lighting the Way 16x12 |
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
Enchanted 30 x 40 acrylic
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
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
#221981 Blakeney Magic 30 x 30 acrylic Blakeney Village Park is located a short drive west of the town of Almonte. It's a favourite destination for landscape artists, (watch for poison ivy), where the tumbling waters of the Mississippi River storm through ancient rock formations under a canopy of giant spruce and pine. I get that same feeling of insignificance every time I go there - mesmerized by fast- moving waters, and wishing I had the skill to paint the thundering sounds that echo from the rapids and waterfalls. Blakeney Magic 30 x 30, painted from an earlier sketch, comes closer.
Did I mention that I really enjoy painting outdoors? That's what we called it back in 1980 when I ventured out for the first time with my friend and mentor, Grant Tigner. Forty years later, I still get a big kick from plein air painting – as it is called these days.
So, just what, you may well ask, is so great about standing in a field in front of my easel and canvas, defying blinding sun and circling black flies? Given time and practice, artists at any level can learn to discern colour shifts and patterns in nature that is difficult to find in photographs and other sources, other than just being out there. We learn to take the time to listen to our inner selves and develop skills needed to record our instincts in our own creative genre. Break-through inspirations come unexpectedly, leaving us breathless at times, with the recognition that comes with surpassing personal expectations. When we fail, we learn by our mistakes. Fascinating!
There are other rewards of course: making lifetime friendships, sharing adventures and gaining knowledge from watching others paint, to name a few. They are high on my list of treasured memories.
Charlie
July, 2021
Did I mention that I really enjoy painting outdoors? That's what we called it back in 1980 when I ventured out for the first time with my friend and mentor, Grant Tigner. Forty years later, I still get a big kick from plein air painting – as it is called these days.
So, just what, you may well ask, is so great about standing in a field in front of my easel and canvas, defying blinding sun and circling black flies? Given time and practice, artists at any level can learn to discern colour shifts and patterns in nature that is difficult to find in photographs and other sources, other than just being out there. We learn to take the time to listen to our inner selves and develop skills needed to record our instincts in our own creative genre. Break-through inspirations come unexpectedly, leaving us breathless at times, with the recognition that comes with surpassing personal expectations. When we fail, we learn by our mistakes. Fascinating!
There are other rewards of course: making lifetime friendships, sharing adventures and gaining knowledge from watching others paint, to name a few. They are high on my list of treasured memories.
Charlie
July, 2021
#220963 Birches Along the 2nd Tee 20x24
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
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
 #221076 A Test of Time 24x24 Cabotto's Restaurant 2021 |  #219915 Table for 36 x 30 Cabotto's Interior 2019 |
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
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
Life Cycle by C.Spratt 30x24
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
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
Painting in Algonquin Park
In the April 13th bi-weekly Painter’s Keys post, the late Robert Genn’s blog explored the positive feedback artists perceive when they are painting. To read the full story go to Painters Keys.
I experience a lift while painting. Not all my efforts are successful of course. But oh my, especially when painting in the field, when I step back for the n’th time and see my painting coming to life, I feel a rush. In fact, I have been caught doing a two-step to the jazz floating from my car radio when I believed that no one was watching.
After many years painting plein air I have learned to avoid copying exactly what I see. I settle on a narrative and try to rearrange things to develop a composition. I purposely paint in a circuitous way so that good things may happen on the canvas unintentionally. Sometimes I surprise myself.
Back in my studio, the euphoria has worn off. The challenge is to rekindle the inspiration with minor adjustments while preserving the moment. This is the final step in the process.
Charlie
April 2021
C. Spratt
The Art of Charles Spratt
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