What drew them to Maine?

It's all about the light...

In the mid-19th century working in natural settings and capturing natural light became particularly important to painters. The popularity of plein air painting increased with the introduction of pre-mixed paints in tubes and the rapid development of new, color-fast pigments.

And the granite outcroppings...

This movement arose more or less simultaneously around the world, including the Barbizon and Impressionist schools in France, the Newlyn painters in England, the Group of Seven painters in Canada, the Heidelberg School in Australia, and the Hudson River School in New York.

And the untouched wilderness...

A national awareness of Maine’s striking landscape was raised in large part by the Hudson River School artists. Thomas Cole, Frederic Church and Thomas Doughty were among the first nationally-known painters to capture Maine’s natural beauty.

At the time, New York was the unrivaled center of art in America, and the Hudson River painters were celebrities. Their paintings were travelogues for a nation hungry to learn about the vast, untamed wildernesses in their own country. It is no coincidence that they painted concurrently with our westward expansion and the first movements toward a national park system.

And the ocean breezes...

They established a tradition of urban artists finding inspiration in Maine. Born in Boston, trained and established in New York, Winslow Homer reached his artistic maturity in Maine. Many other painters have followed his lead, including George Bellows, Rockwell Kent, Edward Hopper, and Rackstraw Downes.

And the power and motion of the sea.

What impulse drove them to Maine? In part it was a desire to escape market-driven and competitive New York. It was also a response to the clear bright light, the bracing breezes, the constant motion of the sea, the sighing winds and the bending pines.

A storm sky forming over Mt. Desert Narrows.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.

For sale to the highest bidder

Grand Canyon of the Yellowstone, by Thomas Moran. 1872. Since Moran was paid a cool $10,000 for this painting, his work in Yellowstone was a ‘commercial enterprise.’ Moran’s work led directly to the creation of Yellowstone National Park and an increased awareness of the beauty and fragility of the West. But never mind history and tradition; we can get more dough out of balloon tours.

While the news is filled with stories about Cliven Bundy and an aborted land grab by the BLM, a similar story crossed my radar this week. It’s on a much smaller scale, but it touches me directly. And the root of the problem seems to be the same as that being played out in Nevada: our nation’s resources are for sale to the highest bidder.

Like me, Michael Chesley Johnson teaches plein air workshops. Last week he was teaching in the Red Rock Ranger District of the Coconino Forest when he was stopped by a ranger who told him he can't take his painting workshops onto Forest land without a permit.  Because he charges a fee for his workshops, he is considered a commercial operation. If he continues to flout the requirement, he’ll get a $500 fine.

Michael Chesley Johnson's painters having a huge impact on the environment.

Michael’s groups are very small—never more than four students at a time. Like most plein air painters, he’s also a keen environmentalist, and like most plein air teachers, he polices the area in which his students work, enforcing a strict “leave nothing but footprints” policy.

So Michael duly looked into the permit and found that he can’t get one. Why? Because the Red Rock Ranger District has used up all its permits, doling them out on a ten-year basis.

Tower Falls at Yellowstone, by Thomas Moran, 1876. We have national parks in the west in large part because of artists like Moran.

What is the competition that Michael is theoretically displacing? Red Rock Western Jeep Tours was authorized for 10,055 trips, each with multiple passengers.  In contrast, Michael takes about 30 people out each season. Total.

The Park Service recognizes the need for a different kind of permit for people like Michael, but they won’t get around to creating it until 2016 at the earliest.

The field artists who accompanied every important western journey of exploration contributed mightily toward shaping our national ethos.  Thomas Moran, Albert Bierstadt, Thomas Hill, William Keith and others defined the American West for the 19^th century, just as Ansel Adams did for the 20^th century. And all of these artists were unabashedly ‘commercial enterprises,’ just as painters are now.

How do we train new plein air artists in that historic tradition? By taking them out into the field, of course.

Another plein air painter in one of Michael Chesley Johnson's workshops.

I have taught in public parks from the Kit Carson National Forest to Owl’s Head in Maine. The only place I’ve ever bothered to apply for a permit was at Niagara Falls, and that was because it’s crowded. And all they asked of me was a “hold harmless” agreement.

I’ve never been bothered by a ranger—never. But neither had Michael Chesley Johnson, until last week.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!

Appropriation Art

This is classic appropriation art—pirated images, pirated music, slapped together, and politically-motivated. Furthermore, it wasn’t actually assembled by me, and I don’t plan to pay the intern who did the video. In the spirit of the age, he works for food.

One more workshop left this year, and it starts next Sunday! Join me or let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!