Oil paintings By Esther van der Sluis
Oil paintings | en plein air
"Plein-air painting means for me that I try to capture the atmosphere of the moment in paint. When it has snowed and I am standing right there in a freezing winter landscape, exposed to the elements, that contributes crucially to the work. It’s cold, and I feel the cold. Everywhere I look, I see the cold; the specific colors in the thin air, the sounds are muffled, the water moves slowly. Because all the senses contribute to translating the image into paint, the work gains a 'soul.' Something that, for me, is only possible by actually immersing myself on-site in that atmosphere."
soul
For me, the most important aspect of the visual arts is learning to observe in an exploratory way. In my view, all artistic expressions share this in common. This way of seeing is a slow, unfolding process—one that is cultivated by continually challenging yourself, asking questions about what you are truly perceiving. Am I seeing what I think I see?
peeling an onion
When I pass a place that sparks my interest for painting, there must always be something that speaks to me at first glance—a direct connection, an instant click. Once I decide to paint that location, I find that more and more details reveal themselves in the landscape as I work. It’s as if you’re peeling an onion, with each layer uncovering a new element as the process unfolds. The season, the quality of light, the weather, and the time of day all play a defining role in the kind of landscape I choose to explore.
'You are, as it were, peeling an onion and each peel is a new element that you discover during the process.'
Color Palette Oil Paintings
My preference for a subtle color palette in my oil paintings leads me to be particularly drawn to small variations in color within seemingly monotone landscapes and the structures of trees and bare plains. It is precisely when nothing seems to happen at first glance that the landscape becomes fascinating to me—a faintly emerging sun, a glimpse through clusters of trees, or misty river meadows. This translates into colors that blend and interact, with the undertone of the work resonating throughout the entire palette: no stark contrasts, but groups of colors that strengthen and complement each other.
palette knife
In my landscapes, I primarily work with a palette knife. It lends the work a distinctive character, creating ridges of paint through the movement of the tool and adding a certain ruggedness to the piece. Combined with the subtle color palette, this creates a kind of paradox—the delicate hues applied with the coarse, unrefined tool of a plasterer.
‘ "In combination with the subtle color palette, this is somewhat paradoxical; the delicate hues applied with the coarse tools of a plasterer."’
senses
All the senses contribute to translating the image into paint on the canvas. Even the scent of the pine forest on a blazing hot summer's day on the sand dunes in 't Harde is part of this experience. The full sensation of being there is an essential element in translating the atmosphere into paint. Alla Prima techniek* This technique suits my way of working best because the process unfolds within a short time frame.
Limitations of painting - en plein air
Painting outdoors with my oil paintings comes with its fair share of limitations. The conditions are constantly changing from the moment you set up the easel—the position of the sun, sudden rain showers, lifting morning mist, and so on. This creates time constraints; you must work quickly. On one hand, I enjoy this speed—it leaves no time for doubt—but it doesn't always work in your favor. Sometimes stepping back (in a metaphorical sense) is beneficial for a piece, but that isn't possible when painting outdoors. For me, this means the soul of the work must be strong and present from the start. Adjustments or refinements can be made in the studio afterward, but the essence must already exist on the canvas.
En plein air | painting art
In the mid-19th century, a combination of technological innovation and new philosophical insights into the landscape led artists to step outside to paint, into the open air, en plein air. New ideas about the role of the landscape in painting began to emerge from England around 1800. The overwhelming nature surrounding us was to be depicted in all its facets and moments. Humanity was no longer at the center; instead, the focus shifted to atmosphere—capturing the emotions it evokes, as seen here in the painting by Paul Gabriël, a quintessential plein air painter.
The flying birds indicate the fleeting moment in this tranquil scene on the water. Rapid changes in light and weather conditions required artists to work quickly. Painting became more spontaneous, allowing them to capture the effect of the moment on the canvas. The Impressionists brought this art form to extraordinary heights.
By the end of the 19th century, plein air painting began to lose its prominence. The search for new insights and inspiration drove the artist back into the studio.
Carol Boender, Kunstgalerij Albright
Alla Prima technique
Alla prima, or wet-on-wet painting, requires great skill in handling tools and paint mediums. When executed well, it results in an impressive combination of completion, cohesion, and refinement achieved in a short time with minimal planning. Intuition and experience hold greater importance than precision and forethought. The artist works directly, intuitively, and improvises often. An alla prima painting typically consists of a single, usually opaque, continuous layer of paint. Glazing or other effect layers are generally not heavily employed, although such techniques may become visible in the completed works of many alla prima masters. Parts of the underpainting often remain uncovered or are partially visible through the painted areas. Sketches are rarely used; instead, minimal underpainting or compositional base layers may be applied. The opaque colors are mixed both on the palette and directly on the canvas, emerging spontaneously from intuition and observation.
Jeffrey Carr , Pennsylavania Academy of the Fine Arts 30-11-2007
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