Here’s a photo along Kaaterskill Creek in Palenville, by the Woodstock Avenue bridge, which gives an indication of the general road conditions following Irene. The creek makes a sharp turn here, and the power of the water against the bank collapsed an entire section of the roadway. A woman’s house along the creek washed away during the storm.

Our back yard started to fill up quickly when the storm hit:

We were fortunate that the house and septic were on high enough ground, and with good enough drainage around the house, to not be affected. Things have pretty much returned to normal for us here at home. To show how much water there was, here’s a photo of one of our streams now, with a “moderate-to-heavy” amount of water flowing:

Here’s the same stream just after the hurricane. The water had actually subsided a bit by the time I got out there to take this photo:

One of our small waterfalls is also a dramatic tale of what the storm brought. Here’s a photo from before the storm. You can see that the water flows only to the left side of those rock ledges:

Well, here it is just after the storm! There’s so much water here that you can’t even see the ledges at all! The stream couldn’t contain all the water, which is why it jumped the banks in the back of our property and flooded the yard.

I’m so thankful that we fared better than most of the folks up here in the Catskills. So many have lost everything. It’s a real tragedy. With the sun shining and the dog playing in the pools by the waterfalls again, it’s almost hard to believe that so many are left with no homes and nowhere to go.

All of my paintings in progress and completed works for sale will continue to be posted here at the Hudson Valley Painter site.

You can click the image above to enlarge it.

These days, there are so many fabulous options for painting with water, if one doesn’t wish to use solvents. A reader made a comment on my blog, asking a question about these choices which I thought would make an interesting blog post.

From Dennis (Edited a bit for brevity. You can see his full comment in my February 25 post.):
….I am curious as to which paint you prefer to work with-artist grade water mixable oil colors or the Open acrylics by Golden? They both seem to be able to allow you the time needed to blend color. ….although I enjoy using Golden Heavy Body,{one of several brands in my paint box} for now when I need an acrylic with more open time I choose Atelier. What brand of water mixable oil do you prefer? Several years ago I tried the Artisan by W&N for plein air, and after two painting sessions, I went back to acrylics. At this time for plein air I am using pencil and/or colored pencil and those wonderful Pitt brush pens This year in addition I may choose to also use oil pastel and watercolor.

Thank you for the thought-provoking post, Dennis. My favorite medium is actually traditional oils, and I don’t mind using odor free solvents in and out of the studio. That being said, there are times when it is either wiser, or more convenient, or both to avoid solvents completely. There are also times we need other advantages of faster drying, easier to transport, quicker to work with, able to paint in a sketchbook, etc. One of the things I love about being an artist is the seemingly endless exploration of mediums, materials and possibilities. Let’s examine some of these other options.

Water mixable oils, even those labled “Artist Grade,” are never as pigment-loaded as traditional oils. They also do not handle exactly the same way. I feel I am already giving something up when I sacrifice pigment load. This is why I don’t use them all the time; I need to get something in return for what I give up — that is, the ability to paint in a place or situation where I would not be able to use traditional oils. The highest grade H2O oil paints I’ve found so far, that are of a consistency I like right out of the tubes, are Holbein Duo and Cobra. I have tried a few other brands, but these are the ones I try to keep stocked in my 5×7″ painting box, which travels with me all the time. I know I can use them anywhere, and can use my drinking water instead of a solvent.

Fishing at North South Lake
Water Mixable Oils, 5×7″

Golden Open Acrylics are also excellent for these situations where you need longer blending time and workability, and cannot use solvents. Again, I have to sacrifice significant pigment load compared with my traditional oils, but the acrylics have the advantage of drying faster, and being able to get varnished and out to buyers sooner. Disadvantage: the larger tubes and jars that acrylics come in don’t fit in my 5×7″ paintbox! Also, I need to use about three times the amount of paint compared with my oils. The small palette in my 5×7 box just isn’t big enough for the amount of paint I need to mix, even for a tiny painting. For these reasons, my little box is stocked with the water mixable oil paints.

Golden OPENs still have a place in my life. They’re wonderful in the portrait/figure studio (especially short pose sessions which generally do not allow solvents). I love painting on sized matboard, which I cannot do with oils. Golden OPENs perform very well for plein air work on hot sunny days when I want to use acrylics. I can mix my colors, and they remain workable throughout a painting session. They don’t skin over on the palette, yet thicken to the point where when I reach the end of an outdoor session and it’s time to lay on the highlights, I have nice thick paint to do so!

Old Truck at the Farm
8×10″, Golden OPEN Acrylics
Painted on a blazing hot day in the sun, these acrylics performed miraculously!

If it’s not too hot outside, or if I’m in the studio, I can use my all-time favorite acrylic paints —- Golden FLUID Acrylics. When you dilute heavy body acrylics to a more fluid consistency, it dilutes the pigment and the paint goes streaky. Golden FLUID Acrylics are made with a much higher pigment load than a diluted heavy body paint. I find them to be the perfect consistency, and combined with the use of Golden’s Acrylic Glazing Liquid, the drying time is extended so that they are perfectly blendable, yet tack up fast enough to overpaint. The 1 oz. bottles are a perfect size to take out in the field with me, and I refill them from large bottles that I leave in the studio. For plein air work, I get to travel home with a dry painting, so I don’t have to bring a wet panel carrier out into the field. They dry and cure so quickly that I can have them varnished and out the door in a week. They are also wonderful for underpainting, then using Golden OPENs over the top, and the underpainting stays perfectly in place. Disadvantages: They will dry out on your palette and on your brushes if you’re not careful. You need to be able to work quickly and mix on the fly, and spray the palette frequently to keep the paint wet.

Under the Bridge at Devil’s Kitchen
16×20″, Golden FLUID Acrylics

You mentioned the Atelier Interactive Acrylics in your comment, and as you can see from the photo, I have a set of my regular colors in that brand as well. I think they are very nice paints —- high pigment load and reasonably priced. As the Chroma company explains, these paints “interact” with the artist through a series of mediums that you can also see in the photo. These mediums can increase or decrease drying time of the paints, or even unlock dried paint to a workable consistency. What I’ve found is that without the mediums, the paints behave just like traditional, heavy body acrylics. I need to thin them to the consistency I want, and they skin over on my palette and dry quickly. No amount of spraying with water revives the dried paint, just like regular acrylics. Even though I could alter that with the Interactive mediums, I’d rather use paints that have the characteristics I need right out of the tubes. When painting out on location, the less I need to cart around with me, the better off I am. Those of you who work in the studio may find it’s no problem to deal with the adjustments of the paint.

The Phantom Tollbooth — Fall at Ward Pound Ridge Reservation
7×5″, Atelier Interactive Acrylics

This brings us to another option…..Gouache! Using just a watercolor palette, sketchbook, and a few small tubes of paint, gouache enables me to paint with all the opacity of oils and all the transparency of watercolor, in a fast-drying, water-based medium that illustrators have used for generations. Companies like Holbein and Winsor Newton have been making more lightfast, archival, artist grade versions of these paints, and they have gone from the illustrator’s desk to a fine art medium in a very short time. Disadvantages: Artist grade gouache is very expensive. When working in an opaque manner, it’s possible to go through quite a bit of paint in a short time. Although it shares the same binders as watercolor, gouache does not rewet easily. When the paint dries out on the palette, it cannot be revived to the juicy, creamy consistency necessary to work the same way as with paint just out of the tube. Some of the new palettes with seals around the edges do a pretty good job of keeping the paint moist and workable. A damp sponge left inside the palette helps to maintain the moisture.

Garrison Castle and the Hudson River
5×7″,Winsor Newton and Holbein Gouache on Fabriano Artistico watercolor paper

Watercolor remains the ultimate sketching medium for the artist on the go. Although most of us prefer fresh paint from tubes out on the palette, watercolors revive quite well if not left sitting too long. A small pan set can go anywhere, and tucks inside a purse or shirt pocket with a small sketchbook or watercolor block.

Leaning Toward Breakneck Ridge
11×15″, Winsor Newton and Holbein Watercolor

In Dennis’ post, he brings up colored pencils and Pitt pens as ideal plein air mediums. I agree with him! In addition, there are water soluble colored pencils that can bridge the gap between watercolors and colored pencils, Cretacolor color sticks in sepia, white and black for sketching on mid-tone paper, charcoal, inks in many colors, and marker sets. It seems that every time I turn around, there is something new and exciting to try in my sketchbook!

The Hickory Tree
Sepia and White Cretacolor leads in a 10×10 kraft paper sketchbook

I hope this post has left my viewers inspired to try something new, or to pick up an old favorite you’ve left by the wayside for awhile. There are so many fabulous choices out there, and each has unique benefits and possibilities.

Now, go paint!

Catskill Serenade
16×20″, Golden Fluid Acrylics on archival board
$695.00 plus $25 shipping and insurance within the Continental United States. Please email me at JamieWG@aol.com for International purchases or with any questions.

Here a clickable image, if you’d like to see a larger version of the painting:

This painting features a view of the famous of Kaaterskill High Peak and Round Top mountains as seen from the Hudson Valley, where one enters Kaaterskill Clove. I did a small, 6×8″ version of this scene a few weeks ago and liked it so much that I returned to do a larger version.

6×8″, Oils on canvas covered hardboard
Custom framed
$290.00 plus $20 shipping and insurance within the Continental United States. Please email me at JamieWG@aol.com for International purchases or with any questions.

This began as a plein air painting this past October. Just as the sun sank below the horizon, the sky lit up like a fireball. As often happens (especially with sunsets), color and light are just too fleeting to finish on location. I’m so busy painting outdoors at that time of year, trying to catch the last bit of fall color, that many of these don’t receive their finishing touches until winter sets in and I’m working in the studio.

I was so happy to pull this one out today and finally get to finish it up. I never get tired of painting these Olana sunsets. Every night there is so different; I can understand why Hudson River School painter Frederic Church chose this location for his exquisite Moorish castle on the hilltop. One of my favorite Frederic Church paintings is a winter view from Olana that he painted en plein air. I’ve never painted from there in winter, but I am determined to brave the cold and do it this winter!

For those who have Twitter and would like to follow me as I tweet away (which is maybe once a day), you can find me here and click to follow me on Twitter .

But what’s an artist to do on these rainy days without a working studio? My dear husband suggested I temporarily take a room in the basement, and set it up to use in the meantime. He took me out to buy a rug, and it has all these great built in shelves for my supplies.

It even has South Mountain as one wall of the room!

It may not be an ideal working space, but I am so happy to have a place upstate where I can work indoors now, in addition to my plein air painting. I have a great studio in Brewster; now I have no excuse not to paint when I go upstate either!

As always, feel free to email me with any questions; I always love to hear from all you art-lovers out there.

Jamie

Each spring, the U.S. House of Representatives has a high school art competition. The winners from each district are then hung together in the United States Capitol building in Washington, D.C. Today I was one of five artists hanging the show for Congressman John Hall’s 19th Congressional District. We hung over 90 paintings by area high school students at the Putnam Arts Council gallery space at Tilly Foster Farm, in Brewster, NY. Congressman Hall will be presenting the awards on Monday, May 11. You can read more about it at the Putnam Arts Council site and also on Congressman Hall’s website. Congratulations to all the students who are in this show! Be sure to stop in to see it if you’re in the area. It’s always worth a trip to Tilly Foster Farm to see the newest arrivals in historical animal species, antique farm equipment, shows at Putnam Arts Council, and the change of seasons!

Other artistic ventures today included cutting a huge bouquet of lilacs from my yard. If it pours tomorrow as it’s supposed to, and I don’t feel like working from a photo, I’ll have these beautiful flowers to paint and smell in my studio.

Last but not least, I took a walk outside this evening, where I was hoping to get some photo references from which to paint the yellow sky I saw over the lake just before sunset. In the process, I inadvertently scared off a Pileated Woodpecker exploring a rotting tree stump, saw a Green Heron flying overhead, and enjoyed a cute muskrat swimming in the brook. I almost didn’t notice the deer on the other side of the brook. He was so well camoflaged that he was nearly invisible. He stood there staring at me for a long time, before turning around and trotting off. I took a picture of him, though I’m sorry it’s not a sharper image. Can you spot him?

Here’s a closer crop to show you where he was “hiding”:

Tomorrow I’ll be doing a frame inventory and ordering frames for some upcoming shows (more on that soon…), but hopefully there will be some time to paint too!

“I took the story to mean that context is everything. Our presentations, lessons, dress, demeanor can make a very big statement. True, quality is great, but it has to work in context.”

“Here is my two cents on this issue. I, too saw the video of Bell playing in the station. My first thought was: Wow! It’s incredible how people are ignoring him! Almost immediately afterwards I thought: if I were a serious busker, I’d be playing on the platform where people actually have to WAIT to catch the trains. That’s a captive audience and more likely to notice me.”

A few commented on the comment left on my blog post at the bottom:
“Wow that’s a slap of cold reality about life in the big city – make’s me glad I live in a relatively small city with plans to eventually move to a smaller town! A good lesson for us as educators to question whether there are other sides to the story. ”

“I saw this story last year and I can relate totally to it. When you are coming off the train you are usually in a hurry to get to where you are going. I don’t think the poster’s comments are off the mark. Trains may come in every 5-6 minutes, but they don’t come from everywhere that often. I take the train to doctor’s appointments in Philadelphia. I can either get into Philly 40 min. before my appt. or 10 min. before my appt. It is about a 10 min. walk to the doctor’s office, so that is the best choice, but I don’t have time to dally. Also, since I only do this every 3 months, I sometimes have trouble remembering how to find the right exit from the train station, so I am concentrating on which way to go and trying to not get mixed up in the crowd of people. I don’t pay attention to what is going on in the station. On the trip home, I sometimes have extra time and might stop to listen to a musician, but that will depend on what time I get done with my appointment. Trains going back home only run every hour, so if I don’t have time to kill, I am in a hurry to catch a train. If I do stop and listen to someone playing music in the station, I am going to be careful- “

Thank you all for your points of view. They bring up many factors at work on the scene, and issues I’d not considered.