Art of the West digital magazine
Issue link: https://www.e-digitaleditions.com/i/32473
in the late ‘90s. An invitation-only group of a dozen or so painters, the artists meet twice a month in the spring and fall in Putney, Vermont, a two-hour drive from Anderson’s home. “I’ve learned what good paint- ing is from Richard,” she says, adding that being a member of the group has helped to transform her work. “I’ve also learned how to see. The conversations that the Putney Painters have together are so rich and get at the heart and soul of paint- ing. We talk about colors, design, temperatures, and edges. I would never be where I am today without the Putney Painters.” Schmid is the group’s leader and the person who decides the agenda for each session. When the weather is bad, painters stay indoors, where they might draw a still life or a model. During good weather, they often go outside to paint the land- scape. “It’s not a critique session, although Richard will offer help if you ask,” Anderson says. “What I love is that Richard asks you ques- tions about your own work that you wouldn’t necessarily have thought of asking yourself.” Working with the Putney Painters has been an expansive experience 46 ART of the WEST • May/June 2011 Bluebirds and Sweet Pea, oil, 10˝ by 16˝ “I liked the teacup, because of the little bluebird design. I envisioned a horizontal composition and then thought about which flowers would drape for the design I wanted. The sweet pea and nastur- tiums in my garden, with their characteristic vine-like growth, were just what I needed.” for Anderson on many different levels, she says. Before joining the group, she never considered paint- ing a human model from life; now she enjoys it. And landscapes have become a bigger part of her reper- toire due in large part to the Putney Painters. Even when it comes to painting flowers, Anderson feels she has learned much from Schmid and the group, which often paints an array of flowers. “I’ve learned how to paint leaves and stems,” she says. “They create