Beverly Dennis

Winston Churchill Does Wine Country, or How I Spent my Summer Vacation.

There is no record that Winston Churchill ever came to the wine country in California.  But he was a painter! He made one trip to the west coast on a lecture tour in 1929 and wrote letters describing his time with Randolph Hearst, and Charlie Chaplin, among other celebrities.  He took up painting when he was 40 years old after major political setbacks.   He was depressed and despondent and found painting to be great therapy.   He had never picked up a brush, but once he did, by all accounts, it or the idea of it was never far from him.  He continued to paint until his strength failed him in the late 1950’s. In 1958 an American tour of his work was organized by Joyce Hall of Hallmark cards.  It was very popular and earned high praise from  Presidents Harry Truman and Dwight Eisenhower. 
He even inspired Eisenhower to take up painting as a hobby. There was another memorable showing at the London Royal Academy following the American tour.   His work was and is praised and enjoyed.  A great many of his paintings hang in Chartwell, his family home.  

Even though Sir Winston apparently did not come to wine country in California,  I did
and  while I am not a statesman, I am  a painter.  I came with the intention of finding a little inspiration.  I was not prepared for what I did find.  The golden hills and brilliant waters of California are certainly inspiring, so that part was predictable.  I planned for time in Mendocino and a trip through the Anderson Valley vineyards.  What was not planned nor expected, in the wine country was my encounter with Winston Churchill.

I recently retired from the art faculty of a small community college, where I taught painting among other things.  So I learned early on about painting trips.  I know like most plein aire painters that you ‘travel light.’ For air travel, a few basic oil colors in a small plastic box (It helps to place a copy of flashpoints for my oil colors from an internet site in the box with them.  This is to inform the security people of their safety.) brushes, disposable palette, paint cups, and gessoed panels in a canvas bag will fit into my suitcase for the plane and is light enough to carry once I begin.  A very lightweight portable easel tucks into my suitcase as well.  When I arrived (this time in Sacramento)  I bought  liquin and turpentine and paper towels. 

I picked up my rental car and had a direction on Highway 128 by afternoon.  I find it helps to look around.  Just get the feel of the place.  And I must admit I am never prepared for the grandeur of the landscape in California.  The vistas were breathtaking.  I took lots of pictures with my digital camera and made promises to myself to return to
those places.

Landscape painting is astonishing.

“The painter wanders and loiters contentedly from place to place, always on the lookout for some brilliant butterfly of a picture which can be caught and carried safely home.”  (P. 32)

I settled into my motel that I had booked online, before dark.  It is a good idea to book ahead, because there are lots of people touring the wine country.  I laid out all of my materials for an early morning paint session.   And in the morning I was pretty excited about the possibilities.  I planned on staying in the valley for a couple of days and then going to Mendocino.   I was almost overwhelmed with the possibilities of subject matter.

“So many colors on the hillside, each different in shadow and in sunlight; such brilliant reflections in the pool, each a key lower than what they repeat; such lovely lights gilding or silvering surface or outline all tinted exquisitely with pale colour, rose, orange, green or violet. I think this heightened sense of observation of Nature is one of the chief delights that have come to me through trying to paint.” ( P.20)

In the California wine country, there is only infinite variety and richness.   A typical paint day would require loading up the materials and  choosing almost any setting- painting a few hours, preferably in the shade and breaking for lunch on one of charming patios of the vineyards tasting rooms In the California wine country.  There is only infinite variety and richness.

“Painting is complete as a distraction.  I know of nothing, which without exhausting the body, more entirely absorbs the mind.  Whatever worries of the hour or the threats of the future, once the picture has begun to flow along, there is no room for them in the mental screen.  They pass out into shadow and darkness. All one’s mental light, such as it is becomes concentrated on the task.  Time stands respectfully aside, and it is only after many hesitations that luncheon knocks gruffly at the door.” (P.31)   
                                                                                                                                                                                              
Lunches can be purchased from almost any convenience store and occasionally at the tasting rooms.  I usually purchase a bottle of wine from the tasting room and ask permission to use the patio.  After a leisurely lunch I return to the painting at hand with fresh vision.  Sometimes I return to the site for finishing up some details and sometimes I work from a digital image. (Most drug stores today have digital print services available.)

I spent 2 days in this delightful way before crossing the hills (more images and promises) into the cool of the coast.   That night was the fateful encounter.

I had a small fire going in the wood-burning stove in my small rental house in Mendocino and encountered a bookcase filled with an assortment of reading materials.  I chose
“Painting as a Pastime,” by Winston Churchill.   I had only to read “Painting is a companion with whom one may hope to walk a great part of life’s journey.” (P.13)   And my destiny was locked!  What a delicious discovery!  I read the small book 3 times that night, and went to bed bleary eyed with excitement for the next day with my new friend, Sir Winston as my guide.

Now admittedly, beginning a new painting is always exciting…and a little fearsome.  But my friend laid the groundwork with,

“ We must not be too ambitious. We cannot aspire to masterpieces. We may content ourselves with a joy ride in a paint box. And, for this, Audacity is the only ticket.” (P.16)

Well, I have a paintbox and more than my share of audacity!  So the dye is cast.

“Success is not final, failure is not fatal; it is the courage to continue that counts!” (Churchill, Source Unknown)

I start out down the road (literally and figuratively) to a small car park that overlooks the ocean and  some rock formations.  Mumbling to myself, “Never, ever, ever give in!” (Churchill’s speech at Harrow School, 1941)

I usually begin with a tonal wash in some earth color-  yellow ochre or sienna.  This conditions the painting surface as well as eliminates the stark white of the gesso.  After I look at the subject carefully,I lay in the dark masses with a dark violet. Using the liquin as my only media allows for fast drying which is an  obvious advantage when you are traveling. 

Then I  add  the colored masses. Lots of color shapes.  Now I am aware that the old masters would spend a great deal of time and energy on meticulous drawings in monotones just to get the values and the compositions right.    That is a good way to begin…but way too slow for me.   The shapes are bold and all color… with some attention to lights and darks and the overall placement in terms of balance.  I keep an eye open to color possibilities.   My painting needs attention in the rock formations to create the illusion of rock masses and the grasses and succulents that live there as well water detail.

Generally I have way too much going on and have to do some editing…which things to eliminate which colors to neutralize.  This stage is the battle stage!  And  our 20th century statesman-painter strongly advised that,

“In battles two things are usually required of the Commander-in-Chief; to make a good plan for his army and, secondly, to keep a strong reserve.”   (P.20)

In short, Churchill urges us to carry on once we know what we are about.

“True genius resides in the capacity for evaluation of uncertain, hazardous, and conflicting information.” (Churchill, Source Unknown)

Nevertheless, carry on!

“We look at the object with an intense regard then at the palette, and thirdly at the canvas. The canvas receives a message dispatched usually a few seconds before from the natural object. But it has come through a post-office enroute. it has been transmitted in
code.  It has been turned from light into paint.  It reaches the canvas a cryptogram.  Not until it has been placed in its correct relation to everything else that is on the canvas can it be deciphered, is its meaning apparent. It is translated once again from mere pigment into light and the light this time is not of Nature but of Art.” (P.29)

The trick here is to be able to back off and see what needs to be altered.   It’s a look-paint–look process.  Look at what you want to paint, paint it, look to see what you painted and compare it with what is in front of you.  Probably  it should be a look-paint-look-fix process.  Soon you become so involved in what is in front of you and delighted with the color and shape possibilities that there is really very little else in your universe.

The final stage for me is to develop the color masses with a different medium, usually a mixture of stand oil, damar varnish and turpentine.  I usually do this in my studio in fixed, unchanging light. The last stage is usually the best part!  Its where I see the finish line.  I am satisfied with the basic composition and shapes and I begin the refinements.  This is an all over process.  I like to think that it is a little like focusing a lens.  Some times this stage can be accomplished on site, some times I do this part in the studio as well as the color build up.  Gradually all of the edges come into focus.

At the end of my painting week, I had 7 field sketches and enough inspiration from Sir Winston and the wine country to last quite awhile.   Should it fade I have three choices:

1. Pick up a copy of “Painting as a Pastime.” 

2. Follow his advice at the end of the book.  

“… painting as a spur to travel.  There is really nothing like it.  Every day and all day is provided with its expedition and its occupation—cheap, attainable, innocent, absorbing, recuperative.  The vain racket of the tourist gives place to the calm enjoyment of the philosopher, intensified by the enthralling sense of action and endeavor…” (P.31)

3. “ Go out into the sunlight and be happy with what you see!” (P.31)