Interview by Allison Malafronte

Yagunia Head, Oregon 2008, oil on linen, 7 x 10. Private collection.

American Artist: What made you choose landscape painting over other genres? What is it you want to communicate through your landscape work?

Frank Serrano: From the time I was a boy, I loved nature and was always outdoors. On our family vacations growing up, I'd take my sketchbook outside and draw anything and everything I could, from coastal boat scenes in California to castles and historic buildings in Europe. So, when I finally decided to become a painter, choosing the landscape as my subject matter was basically a no-brainer. I knew I wanted to be outdoors because it was something I had always been drawn to and interested in.

As far as what I'm looking to convey in my work, for me, it's the mood and lighting of a place that really speak to me, and that's what I want to communicate to the viewer. A perfect, sunny day with everything in focus doesn't excite me at all--I'd rather paint mist, haze, fog, and other atmospheric effects. I'm not a colorist; I'm more of a tonalist, so I love those days and weather conditions in which I can really capture the mood and feeling of a place.

Early Start 2008, oil on linen, 11 x 14. Private collection.

AA: Can you explain how you achieve that atmospheric feeling in a painting?

FS: There are no secrets in painting. For me, creating atmospheric paintings with lots of infused light is all about putting down the right values and shapes and getting the relationships between those two elements correct. On overcast or misty days, when I'm creating very high-key paintings, there aren't a lot of sharp, hard edges, so emphasizing that gives me a soft, moody feeling. Again, I'm a tonalist, so I'm not painting with a lot of color. Sometimes I will push things a little here or there, but for the most part I'm very direct and am just painting what I see.

AA: Do you think being an avid outdoorsman has advanced your ability as a plein air painter?

FS: It's actually the other way around. I have found since I've become a plein air painter I've developed a much greater understanding of nature and the landscape. Just being outdoorsy didn't make me see all the subtleties and nuances in value, temperature, and shape that I now see. Painting from life has also given me a bit of a photographic memory, which allows me to create more convincing landscapes both on-site and in the studio.

Check out our other featured plein air artists.

Newport Sparkle 2008, oil on linen, 8 x 16. Private collection.

AA: As someone born and raised in Los Angeles and one who is very familiar with the state's light and landscape, why do you think California has captured plein air painters' imaginations for so many centuries?

FS: California is very diverse. Throughout the state there are mountains, desert, the ocean--it has a variety of subject matter and climates for painters. The light here is so unique because on the coast you get very different conditions than you do inland. For instance, someone in Arizona may have a lot of beautiful mountains and interesting landscape to paint but the light is very dry and flat. Coastal conditions create an excellent environment for painting and a very distinct light.

Serrano answered questions as he painted during a recent workshop near Pasadena.

AA: You are largely self-taught as a landscape painter. Who would you say had the greatest impact on you as an artist?

Because I drew from a very young age, I consider that to be a large part of my art training. It was something I felt compelled to do constantly, and I really think it allowed me to develop a foundation on which to build my painting skills. Once I became a painter, I became very interested in the work of Sam Hyde Harris. Also from LA, Harris practically painted in my backyard, and he had this atmospheric approach to painting that I really admired.

As I advanced further and realized that this tonal style was how I wanted to paint, I discovered the work of two English painters, Trevor Chamberlain (1934-) and Edward Seago (1910-1974). Because the weather in England is often overcast and rainy, they painted the same kind of misty, moody paintings that I love and captured an atmospheric feeling in their landscapes that really impressed me.

Griffith Park 2008, oil on linen, 9 x 12. Private collection.

AA: For landscape painters who have decided to obtain instruction through workshops and self-study, do you advise that they train with several instructors to broaden their understanding, or do you think it's better to study with only one or two instructors whose work they truly identify with?

FS: My feeling is that if you're serious about painting, you should study with only the instructors who are the best at what you're drawn to. If you don't know what that style is, I would suggest spending time observing and studying different painters' work in books, magazines, or galleries to see what resonates with you. When I first started painting, I always looked at the best artwork I could find and wanted to learn from only the best.

Students gathered around Serrano as he conducted a demonstration.

AA: Your plein air-landscape workshops and weekly classes that you teach in Los Angeles attract students from not only the Golden State but around the country. What are the main tenets of what you teach, and how would you describe your approach?

FS: I don't teach anything that I myself don't practice as an artist, so a lot of what I cover is that tonal, atmospheric approach to painting and the importance of both simplification and values. Drawing is also huge in my class. Sometimes I will teach a separate class just on drawing and recommend participants take that or another instructor's drawing class while taking my oil-painting class.

Utah Desert 2008, oil on linen, 16 x 24. Courtesy Cody Fine Art, Cody, Wyoming.

AA: The book that you published in 2003, Plein Air Painting in Oil, has been especially helpful for painters who are just beginning to paint en plein air or who are moving from other subject matter to landscape painting. Can you explain what the motivation was for the book and what topics are covered?

FS: I wanted to give my students a resource they could use again and again to help them become better landscape painters. The book is written in a very straightforward, simple manner and covers the basics of plein air painting, from drawing and massing in shapes to values and color mixing. Although this is a book of fundamentals, it is not just for beginners. A lot of professional artists have told me they still reference this book regularly.

AA: What plein air painters, both past and present, do you admire?

FS: I admire many artists, but there are certain painters who have had a direct influence on my work. Historical artists include Eugène Boudin, whose beautiful beach-scene sketches in the National Gallery greatly inspired me; Anders Zorn and Sargent, for their sheer ability as painters; Sam Hyde Harris, Edgar Payne, and William Wendt, who were all solid landscape painters; and John Henry Twachtman, for the way he captured a sense of mood in his work.

Remaining Light 2008, oil on linen, 20 x 24. Courtesy Maureen Murphy Fine Arts, Santa Barbara, California.

For contemporary artists, the first one would be Clyde Aspevig, hands down. He really infuses his paintings with such life, and I love the texture he achieves. I just feel he's one of those painters who is always a step ahead; English painter Trevor Chamberlain, for his ability to capture mood; Matt Smith, who is excellent with light; Ray Roberts, whose work I admire greatly; and T. Allen Lawson, who is just a great East Coast landscape painter.

AA: What one piece of advice would you offer an artist just becoming interested in painting the landscape and learning from nature?

FS: I advise beginners to keep it simple and start small. A lot of novice plein air painters will take these big canvases out on location and then become frustrated when they can't fill that space the way they envisoned. If you want to capture a fleeting moment, you have to paint small and learn how to edit. Becoming a better painter is all about mileage. You have to just paint, paint, paint. Never stop painting, and never stop practicing.

For more information on Serrano, including upcoming workshops, visit his website at www.pleinairgallery.com.

Serrano will be sharing tips from his book Plein Air Painting in Oil as well as discussing his upcoming instructional landscape-painting book in the Tools & Tips section of Plein Air later this month.

Comments

Frank,

Congratulations, nice artical I will look for the magazine. I have enjoyed learning to paint your misty effects.

Bill

I can attest that Frank'workshops are a revelation; he's one of the best in the business and his demo's are truly inspiring.