On The Road 11: New England Plein Air
- nickbaxtertattoos
- Mar 25, 2016
- 2 min read
At the beginning of this month I travelled back to my homeland of Connecticut, hoping for late winter weather mild enough to endure some outdoor painting of the classic New England scenery I grew up with and now become nostalgic for after these last 7 years in the ecology of central Texas. I wasn’t disappointed, as Mother Nature provided a few days of sunshine with the slightest hint of spring.
My first opportunity was a very brief session in the late afternoon golden hour at Killam’s Point in Branford, where it was not just barely (baarrrely) warm enough to endure a stretch of time standing still with finger joints stiffening by the hour and legendary March breezes dropping the wind chill as the sun sank into the water of western Long Island Sound. The lapping of the waves into stony sand and the smell of seaweed washed ashore were both adequately satiating to my coastal longings despite the useless frozen digits and deep chill creeping into my core that didn’t fully thaw until much later that night. While far from my finest work, I appreciate the challenges overcome in order to paint something even this rough.
The following day was mercifully a bit warmer, especially being away from the coast, in the forest interior of Meriden’s Hubbard Park where I happened upon a softly babbling stream early enough into a failed quest to reach the summit of the small mountain that the park envelops. Up on that mountain, at the edge of a cliff, stands tiny Castle Craig, which overlooks the park and the rest of New Haven County to the south (and which I have never been to, despite growing up practically in its shadow in nearby Cheshire), and I hoped to reach it easily in order to paint the scenic vista of my homeland. But the limited daylight hours and weight of my painting gear upon my surgically repaired lower lumbar were enough to keep me resigned to the forest below, where I was thankful to find a secluded and easily accessible place to paint a forest interior that I’m quite pleased with. Juxtaposing the smoothly blended flowing water with the rougher chunks of loose alla-prima paint technique has become one of my favorite effects to attempt in my young plein air painting practice.
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