We were out in the rainy Hoh Rainforest, commissioned to take installation photos by the project designer in Washington D.C. Nancy took some very tasty images and I thought I’d share them here. This project ended last summer, but no good photos existed of it, and project artists, designers and builders need these for examples to show for future adventures. This old guy just happened by for one of the shots. That’s a see-through painting of Mount Olympus on the right, a complex collection of forest floor paintings on the tabletop – and beyond is the real thing.
Look out the windows past the art and this is the view. Big Sitka spruce is what this beautiful place is all about. I feel fortunate to have my art here, an installation that will be enjoyed long after I’m gone from walking these trails.
I’ve been painting imaginary scrapes of landscapes for a long time. I find it very rewarding to take a moment in time and build a little painting around it, a memory for me of ‘being there’. This one is actually a streamside rock pile up the Big Quilcene River on the Olympic Peninsula, Olympic National Forest. I remember, it was raining, had glistening rocks, lots of varieties of color and texture, a few bits of wood as well. It was near the old log bridge at Bark Shanty. These are cold waters, so I primed the board with Mars Red to give it all a warm cast.
The spotted sandpiper is the same, a nice memory for me of bumping into this little guy on a hike. They’re around most Western mountain streams throughout the summer, but head south to Argentina when the snow flies. You might normally think of sandpipers as birds that flock for safety, but this one is always singular. They poke around stream and lake shores, banks and beaches for lunch and have a curious habit of teetering up and down as if it’s lost its balance.
The first time I ever saw a spotted sandpiper was in the High Sierra. I was walking along a meadow bank beside the river above Tuolumne Meadows a few miles south of the campground. What a place! And here was a sandpiper, just meandering along and minding its own business as if I didn’t exist. It spent time, and so did I. Those memories make for good paintings, no matter if it’s decades later.
This painting is now for sale. It’s framed and the outside measurements are about 24″ x 20″ matted and under glass for $1295 total. Shipping is a bit more. Let me know if you’re interested at larry@larryeifert.com.
American dipper working the Upper Dungeness – but it could be any clean mountain stream hereabouts. A little space between projects, so I painted my favorite bird – John Muir’s favorite bird too. No secret why, this little bird lives where Muir felt most at home, and I do too – next to a clear rushing and wild bit of water in the high country. Dippers are so connected to this singular habitat that they’ll fly around a stream bend instead short-cutting across a meadow. ‘Dine in’ for a dipper means diving into a waterfall and walking around underwater, kicking stones around and eating insects.
Painting moving water is always a joy for me, but also has some mental anguish. It’s not easy to define what it looks like – something that is more a feeling than a fact. There is lots of bounced light, reflecting off the sky, nearby trees, sunny patches of moss that is getting direct sunlight. It’s not what I see, but more what I think I feel that is important. Did I get it on this one? I’m never sure.
I realized at the beginning that this would be a gray and green painting, cool colors. So, I started it by priming the board with Mars Red, a very brilliant purplish-red that you can see hints of all over the painting. Look carefully, you’ll see what I mean. It warmed the entire painting up a lot.
This painting is still for sale as of January 31, 2019. It’s framed as you see it here, outside measurements are about 20″ x 24″ and is $295 total, with shipping a bit extra. Email me at larry@larryeifert.com if you’re interested.
Sorry, this painting sold a few hours after posting.
El Malpais National Monument mural painting completed
I finished my El Malpais National Monument mural a few days ago. Of course they don’t know about it yet because the park staff is shutdown, but I thought I’d post it here to let everyone else know that artists don’t get sent home – we ARE home. Park staff isn’t getting paid, and neither am I.
Enough of that! The progressive steps of this painting are shown below, from the concept sketch created on location in Grants New Mexico, to the refined sketch and finally the painted version on top. Scroll to the bottom to see the chronological progression in reverse.
This painting shows the rather amazing and pristine high desert plateau landscape right on the Continental Divide in central New Mexico. This giant park has over 400 lava caves, ancient pueblo ruins, sandstone cliffs, vast lava flows, cinder cones and some of the oldest Douglas-fir trees on the planet. The painting shows most of these components, and also several cave entrances, bats emerging for the evening, a ringtail watching them pass. There are two tinajas, or waterpockets with frogs and others coming to drink after a hot day in the desert. This part is on sandstone, like the background cliffs. There are ancient junipers that were probably here 1000 years ago when the pueblo was occupied, and lots of pot shards are littering the ground. We saw all this, and much more I couldn’t get in while on our site visit last spring.
The design for the park’s map brochure.
This painting will be going to the main visitor center in Grants, but a larger copy with also be produced for an exhibit there. The real reason for this, however, is that it’s going on the back of the new park map brochure, so each year over 100,000 people get to take it home with them – along with this painting of mine. This part of the project is being produced by the excellent staff at the National Park Service’s Harpers Ferry Center in West Virginia. They always do great things with my paintings. I know the production will be top-notch.
Super-refined sketch prior to painting. This one was drawn in the studio here in Port Townsend and was the final draft before painting.Refined sketch number seven, also drawn on location.ELMA sketch #7
Above is the initial sketch photographed for big screen presentation at the park. I did this on the pavement at the hotel in Grants New Mexico, then loaded into my laptop and piped it onto the big screen for the park to see and comment on while I listened and wrote comments. This is sketch #7, the final one attempted and it was heartily approved. Even the superintendent was there, which is a rarity for me.
This was drawn on location, along with half a dozen others, but wasn’t a specific place. It has all the ‘elements of El Malpais, but doesn’t hold faithful to any ‘stand here and see this’ location. I think I nailed it pretty well.
“Light in the Forest” is an original acrylic painting on canvas, 24″ x 48″. This started with the reference sketch that I made at Sol Duc Valley in Olympic National Park. A droopy trillium flower, a few non-flowering False Lily-of-the-Valley plants, some sword ferns – but I liked the idea of a big shaft of bright sun illuminating a lush springtime old-growth forest. I think I need to work on this just a bit more, but I’m close to getting there. It may be a tad over the top with details, but I couldn’t help but to add a calypso orchid, just because it’s my favorite forest flower – and a Pacific wren, one of my favorite forest birds. These little guys are only about 3 inches long, yet sing an astoundingly-loud sizzling song that seems to go on forever. The poor little bird had its name changed a few years ago when some new genetic testing reveled the birds here on the West Coast are different than the eastern birds. No respect!
This is the original painting, NOT a print. If you’re interested in purchasing this, email me.
We’re offering “Light in the Forest” for $1700 with our custom-built hemlock frame. Shipping will add a bit more, but since it’s on canvas, it’s light. Other frames are also available.
We’ve been in San Diego enjoying family and friends – but it’s so good to be home in our little green and peaceful meadow again with the critters. It was heartwarming to see the red squirrel heading up to his tree-home with a giant wad of our home fiberglass insulation in his mouth!! and this little creeper was on the same tree trunk.
Possibly one of my most favorite birds,we have several resident brown creepers here in our little patch of forest. They’re like little scurrying mice, but instead of being on the ground, we see them on tree trunks. With over-sized toes for probing and poking, their coloration makes them resemble tree bark so much that if they stop moving, they almost disappear. While equally-small nuthatches spend their lives climbing DOWN trees in search of insects, creepers do just the opposite. They circle and climb UP trunks, pocking and pecking away to find the bugs nuthatches missed. In this way, both species can co-exist on the same tree, and while one is watching the ground for trouble, the other watches the sky.
This ORIGINAL painting is varnished acrylic on linen canvas, 8″ x 10″ and $320 unframed. We have custom frames that would make it a total of $145 and shipping adds just a bit more depending on your zone or if you take the frame. This is the original painting, NOT a print. Email us for details.
This is an older painting of mine, and the rhododendrons certainly in bloom, but I felt compelled to write about this week’s freeze and the little birds in our meadow.
From coast to coast, I know we’ve all had amazing weather this past week. The southern storms drove a giant blast of Canadian air down and west over the Cascades, and here we’ve had record lows for a week. Temps haven’t gotten out of the twenties, with nights down into the lower teens, weather we just don’t ever get in Puget Sound. None of us have clothes for this stuff. And while we’ve all been suffering, that can’t be anything compared to what our two wintering-over Anna’s hummingbirds must be experiencing. For all my decades around the Northwest, I’ve never seen hummers here in winter, but last year we had one stay all season, and we’ve heard we’re not alone with this. We put out a feeder when we spotted him, but it wasn’t because of the sugar water that he was here, because we put it out AFTER we spotted him. This year we have an adult and a juvie, and we were ready with a feeder (and a 150w flood lamp on it 24 hours a day after the freeze hit). So far it’s working.
I wrote about hummers a few years ago, and learned that they have ways to cope with this cold stuff. They have normal body temps of about 105-108F, with a sitting heart rate of about 250 beats per minute. However, at night they sleep normally, or, they can go into a turbid state where they actually drop their body temp to between 30 and 65 degrees (depending on need), and drop their metabolic rate to one-fifteenth of normal. In this way, they can maybe make it through a very long night of 15 degrees.
Before nightfall, they make one extra smart move. They find and remember where breakfast is going to be. Then, in the morning it takes upwards of an hour to fully wake up before flying. This requires a huge energy drain on this thumb-sized bird, and if that feeder is frozen when it gets to it, the bird is in big trouble (like a car on empty that gets to the gas station and the pumps are locked).
Temperatures are warming up now, but we’ve felt a great privilege to keep tabs on these two intrepid birds this week. Snow and hummingbirds just don’t go together, but if this is a sign of Climate Change, I’m happy with it.
Thanks for reading this week. Larry Eifert
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with more art in America's national parks than any other artist
