Painting and Solitude I

Painting outdoors requires special considerations. One of these considerations is the individual working space. When artists work in a studio, the space is defined by a physical room. This means that the space can be altered to taste and utility according to the individual’s work habits. The choice of a studio is usually a primary concern for this reason. It follows that, in many cases, the work done by an artist is reflected by the studio he or she has.

Distinct is the relationship between working space and en plein air painter. Painting outdoors deals with an entire set of paradigms that are greatly different from the familiar studio. The goal of the en plein air artist is to find a way to be physically present in the public domain and remain concentrated on the work involved.

Some artists live and chose to work outdoors in quiet deserted places. Others brandish their equipment in urban centres where passersby and traffic can intervene in every imaginable way. The former manner allows the meditative beauty of nature to enhance the painting experience. The latter stimulates the vibrating activities of movement and construction that underlie the principle of city dwelling.

However, in both cases, the primary concern of the painter is to find himself or herself alone in front of the canvas with inspiration driving the pursuit. The aspect of being ‘alone’ even in the most urban situation, gives the painter the necessary dimension for creativity.
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