Nocturnes

Nocturne oil on panel 24 x 24 by Len Sodenkamp

One of my favorite painters is Fredrick Remington (1861-1909) his magnificent nocturnes marked an important new direction at the time for the celebrated illustrator, writer, and sculptor of the American vanishing frontier.

I would like to recommend a beautiful book by Nancy K. Anderson with essays by Alexander Nemerov and William C. Sharpe. The book is called THE COLOR OF NIGHT and it is the definitive resource on Remington’s nocturnes. Large reproductions of his stunning paintings are beautifully illustrated including other works not seen publicly since his death. This interesting publication provides inside commentary from  Remington's personal diaries and letters from his contemporary critics of the time.

Happy painting,

Len Sodenkamp

Shifting gears

Acrylic on panel 24 x 48 by Len Sodenkamp

My Cosmic Light Series paintings www.len-sodenkamp.artistwebsites.com allows me to shift into another painting mode when I feel that lost sense of were to go. I love painting landscapes like my Earth Light Series but it is great to be able to shift gears to an old friend acrylic and it really helps me to stay prolific. The image below is the same acrylic painting as above as seen in the dark. It was over painted with rare earth phosphors in a clear acrylic vehicle. When dry it is invisible but in the dark it glows by emitting light it absorbs and it will stay visible all night. I call these paintings STARSCAPES® FX
LIGHTS ON LIGHT OFF .www.sodenkampart.com

I simply can not or will not become stagnant with my craft. I think it is a bunch of nonsense that artist fear experimenting or changing direction because they were told they wont come across as serious painters. The gallery folks who tell me they cant sell my talent because I am all over the place with my art bore me. I will not change my creative way; it provides me with what I need. Here is a great quote from a great painter Robert Glenn "Art is hard-earned work that is its own reward and has a degree of permanence." I say have fun with it, experiment, compose, get the love out and on the canvas; shift gears by all means because love always comes around full circle.

Happy painting,

Len

Becoming intimate with each primary color

By removing a primary from the palette the artist is forced to become more intimate with the two remaining primaries. In (example1) above yellow was left off the palette in a effort to better understand Indian red, another of the iron oxide group and to discover its effect on ultramarine and vise versa. Ultramarine was selected because of its warmer hue in the blue family and would then help to warm up the rich but slightly cool Earth toned Indian red. The panel was first toned with pure Indian red and turpentine. It was surprising that it took on a much warmer tone then expected.  The toned passages of the painting built the illusion of an early morning sun rise which was then supported by painting the effect of mist rising off water. It is important to note that the high light and back lit passages of the painting would not be as strong by mixing and applying paint into these areas and so are supported by just the toning. The sun, water fall and reflection elements were made even stronger by removing a small amount of the toning in those pre planed areas before beginning the brush work.  

The image bellow was taken of the painting that was completed on Friday March 11 2011. It was digitally enhanced by introducing a small amount of  yellow spectrum and dramatically illustrates the powerful effect the missing primary has on the painting.

This painting and others in my Earth Light and Reflection Series are available for sale as well as prints, giclee, and cards at http://www.len-sodenkamp.artistwebsites.com/

For information about STARSCAPES® FX night sky murals go to

http://www.sodenkampart.com/ or call Len at 208-484-0792



Simplified Palette, warm and cool grays on a toned panel

The two illustrations above help to show how to create amazing paintings with very simple palette on a toned panel implementing neutral/natural looking grays. By injecting pure pigment to grater or lesser degrees into those grays along with the introduction of white provides the painter with unlimited possibilities.  I am particularly fond of pigments made from the iron oxide group such as yellow ocher and burnt sienna. Combining these with cobalt blue to create wonderful neutral/natural warm and cool grays. Toning your panel or canvas with pure pigment using paper towel as your brush and a small amount of turpentine lays the foundation for your painting. (See Illustrations above) This simple method also provides the painter with options not available in my opinion by any other means.  My panels are very simple, made from tempered hard board, primed with three coats of any good quality interior/exterior flat white latex paint. You can also use oil based primers as well. I prefer the latex for its fast drying and low odor aspects. Another reason I like the iron oxides family of pigments, they are less expensive and non toxic.

Happy painting,
Len Sodenkamp
http://www.sodenkampart.com/ 
Prints and cards avialible at http://www.len-sodenkamp.artistwebsites.com/