Painting in nature vs painting in the studio.

There are a lot of strongly defended opinions about the veracity of using photographs as reference material for paintings.  It seems to me that most of these opinions are expressed by Plein Air painters.  While studio painters probably hold strong opinions as well, they are likely too busy painting to take time to express them.  Plein Air painters, on the other hand, have a lot of time on their hands, sitting in their kitchens waiting for spring or sunny skies to complete their paintings.

Of course, studio painters have other reasons beyond weather for their painting practices.  One comment I have heard is that slow painters are at a distinct disadvantage painting outside, trying to complete their painting before the light changes too much. Those who paint with oil and wish to paint large paintings are similarly at a disadvantage.

On the other hand, Plein Air painters point out that photos simply cannot capture colours and depth properly, not to mention moods, that the only way to truly render landscapes is to be in the midst of it.  My answer is this: recently someone posted a number of drawings of everyday objects, such as hot dogs, photographed beside the real items, challenging people to tell the difference. It was difficult. The drawings were extremely well done, but, my comment was that painting is fundamentally a means of communication and, if you cannot tell the difference between the real thing and the drawing, then what is it exactly that the “artist” is trying to tell us, other than that he/she enjoys exceptional drafting skills.

This is obviously a  bit of an overstatement, but it contains a kernel of truth. I admit that   plein air painters can just as easily put their personal reactions to nature in quickly completed on site paintings as studio painters can using photos they took themselves of places they have been to. The point is, that while some find the plein air experience to be a fruitful one, it is not fundamental to successful landscape painting.  The danger of simply copying nature is, equally real for both painters. Our objective is to convey our reactions to nature, to show people, with our paintings, the wonders of nature and its life-giving presence, not to simply reproduce its image on canvas.