Interview by Allison Malafronte

The Grist Mill oil, 24 x 30.

American Artist: What is your background as a landscape painter? At what point in your career did you become interested in this genre?

Foster Caddell: Actually, I started working directly from nature in 1938. I was 17 and working as an apprentice for the Providence Lithograph Company, in Rhode Island. I was making $15 a week, and giving my recently widowed mother $14 of my earnings. In my spare time, I was taking lessons from a local artist named Gordon Harris. He took pity on me and offered free lessons on Saturday mornings and introduced me to painting directly from nature.

Late Summer, Late Afternoon oil, 24 x 30.

AA: In 1974 the editor in chief of American Artist suggested you write an art-instruction book, which resulted in a series of several books, including Foster Caddell’s Keys to Successful Landscape Painting. Please explain how this partnership evolved.

Beachdale Lane oil, 24 x 30.

FC: My relationship with American Artist began when Norman Kent, the editor in 1968, decided to do an article on me. In 1972, Donald Holden, the newest editor, published a book titled Creative Color under the pen name of Wendon Blake. The book was a compilation of many articles that had been in American Artist magazine, and I was included in that book. After this, Holden asked me to put my thoughts into a book of my own. My first book, Keys to Successful Landscape Painting, was published in 1976, and in it I established a unique idea for all my future books. In teaching I had observed that students consistently made the same mistakes. So in the book I decided to present a painting I had already done as a good example, and placed it on the right page. Then I redid the painting incorporating the mistakes that students often made, and placed it on the left page. This side-by-side presentation made it easy to see the comparison. Under each painting I explained what was “bad” and what was “good.” This approach was a resounding hit and this first book went into six printings, published by both Watson-Guptill in New York and Pitman in London, and was then distributed worldwide. I followed up by writing Keys to Successful Color, which was published in 1979, and then Keys to Painting Better Portraits, which was published in 1982. In 1993, a revision of my first book was published by North Light Books and included all color reproductions, whereas as the first book had only a few.

Rural Gothic oil, 23 1/2 x 26 1/2.

AA: You told me that you are old enough to have practically reinvented the term “plein air painting” more than 60 years ago. What was going on in the art world at that time? Was what you were doing—painting directly from nature—not a popular practice?

FC: I was trained and grew up in an era of modern abstract art. However, I decided to follow my heartfelt inclinations and not "bend my knee," so to speak, and follow the crowd. I decided and determined myself to paint in a way that the average person could understand and live with my work.

AA: What was your training as an artist? Was there an artist or a group of artists that you worked with/learned from as you advanced in your career?

FC: I did not have the advantage of going to an art school, but other great artists after Gordon Harris took me under their wings and helped me along. I studied under Guy Wiggins, then later with Peter Helck, of the National Academy, who became a good friend and most appreciated mentor. He encouraged and inspired me more than any other instructor that I ever had.   

The Old Boat Never Dies oil, 24 x 30.

AA: What is your process as a landscape painter? How important is it for you to work en plein air?

FC: I find the site and scene that I want to work on and choose the time of day that affords the best patterns of values. I set up my easel and start by making a rough pencil sketch of the composition, which incorporates a value pattern. This value pattern is often overlooked by most artists. Often I will change the existing value pattern, but I still depict it in a way that could have happened. Before starting, I envision the final painting in my mind's eye and deviate only when I feel I can improve upon it. This process is so important to me, that in more than 60 years of doing landscape painting, I am proud to say I have never copied a photo! Every landscape I have ever painted was done en plein air. 

Clarks Falls, Gris Mill oil, 24 x 30.

AA: You were recently included in a book by Jack Richeson titled My Friends, Today’s Great Masters, along with Ray Kinstler, Daniel Greene, and others. How does it make you feel to be considered a living master?

FC: So many artists' talents aren’t recognized until after their gone. In 1998, when inducted into the Pastel Society Hall of fame, I commented that I was most pleased that it was not a posthumous award! Naturally, I was thrilled and honored to be included in Jack Richeson's book. On the other hand, to quote Michelangelo,  "If people knew how hard I have had to work to gain my mastery, it wouldn't seem wonderful at all." 

Take Me Down to the Sea oil, 24 x 30.

AA: When you first started your career, what was your goal for yourself as an artist, both personally and professionally? Have you achieved those goals?

My goal was, and is, to be the best artist that I could possibly be. I've never aspired to do anything else but my art work, and various fortunate circumstances throughout my life allowed me to do just that. My first job at 17 was in a lithograph company; in the service during World War II, I worked as an artist and for 50 years was able to run my own school in my basement converted to a classroom. In spring, summer, and early fall the entire town of Voluntown, Connecticut, became my classroom.  So I've worked as an artist from 17 to 87, and counting! Other professions may have been more lucrative, but I can't imagine they would have been more mentally rewarding. Luckily, I never became a member of the "Thank God It's Friday" club!

The Patterns of September oil, 24 x 30.

AA: If you could have been born an artist any time in history, what period would you pick and why?

If I were to choose another time to have been born I'd have to say around the mid 1800s, when plein air seems to have been born. Since I so enjoy plein air painting I think I would have liked being there on the ground floor, so to speak.

The Plant Lady oil, 24 x 30.

AA: What artists do you admire, both past and present?

There have been so many great artists that I have admired, that I'm certain I will overlook several. Going back in time, Velázquez and Rembrandt were, in my mind, two of the greatest artists that ever lived. Impressionism introduced more color, but seemed to have overlooked good drawing and values. I believe that all three should exist in a painting, and I therefore refer to myself as a "Modified Impressionist." However, during the early period of Impressionism, Degas' work stands out in my mind as the exception. 

Frank Brangwyn influenced the work of Peter Helck, a later teacher and mentor of mine. Both of these artists did not become well known, but in my mind they were among the best. Among more contemporary artists whose work I admire are Ray Kinstler, Daniel Greene, Ramon Kelly, Paul Strisik, Nicolai Fechin, Richard Schmid, and John Howard Sanden.

Vanishing America oil, 24 x 30.

AA: If you could offer one piece of advice to the upcoming generation of landscape painters, what would it be?

A fellow artist/friend used to say, "There should be a law against being an artist, and only those who have the determination to defy this law should succeed." As artists, we are faced with the unfortunate fact that most of the public feels that the closer a painting comes to a photo, the better the artist. Unfortunately, some artists bend the knee to oblige, and paint everything in great detail. I say of them, "They would be good at taking inventory." There are few among the general public who know what good art is. I have always painted for them, as well as for myself.  When you display your work, you are showing the whole world how much you know and how much you don't  know. One of my favorite sayings is, "When the subject matter dominates the execution, the painting has failed." So to sum it up, get out of the studio, and paint from nature. It is not easy--the light is constantly changing, the perspiration is dripping off your nose on a hot day--but you are capturing the "true" scene, as no photograph ever can.

For more information on Foster Caddell, visit his website at www.fostercaddell.com.

Comments

Great article on foster!

Foster --- That was a great article -- I also thank Gail for putting me on your mailing list -- Having been a 9 to 5 kind of a guy for 40 years, I would have traded them all for a talent like yours -- Your friend & admirer-Jan Miller (Mystic, Ct.)

Hi Foster,
It's great to see you and your wonderful work featured by American
Artist. I will always remember when I traveled to Connecticut many fleeting years ago to study with you. Although I went toward Luminism, your teaching, both personally and in your books, helped shape me as an artist. Your unique way of painting radiant light, interesting shadow patterns, and atmosphere is beautiful and unsurpassed, making your paintings instantly recognizable by your incomparable style. You are one of our great artists.

Your book is one of my best art instructions books. I've learned so much from it. Thank you, thank you. Judy Warner

Foster, you are an amazing man, I can't tell you how much it ment to my mother and myself for you to take the time and research this print. You have really impressed me, I would love to meet you sometime....so if you're ever in NC or Sc I would love to make te trip there, so if I could talk my mom into coming with me I would be happy to visit you.....any maybe get a lesson or two. If you have any questions please feel free to call 910-579-3038.

One of the "great master" painters & teachers of our time. He held nothing back when demonstrating his painting & pastel technique to his students. His books explain his approach clearly. Having studied with him I appreciated reading this article.

Foster, I recently learned so much about you and my great grandmother it was nice. My great grandmother Amelia Brown took your classes, and i have a few of her painting and she was an amazing artist and woman. Just to let you know you both have inspired me to take some art classes and I'm doing my research paper on you both. so thanks.