oil on canvas panel 12 x 16 inches
oil on canvas panel 12 x 16 inches
I have been painting the wildflowers in this meadow over the last few weeks. In meddling with one of the last paintings to make repairs, I decided to take license with color. That is to change several things to see what would happen (the cool thing about oil painting is that you can cover up anything! So you can experiment till your heart’s content and not waste a single piece of canvas . . .you can always go back over it!)
In this painting, the dark tree line in the rear of the picture space is cool red. While the hills in the back are pale, warm blue. The sky is a warm, pale yellow. The big tree on the right is green and the foreground ranges from blue violet to yellow grays to dull greens. My color logic says “no, this won’t work” . . .but it does.
If I think in literal terms, red is warmer than blue. That part is okay. But why does the red recede like it does in the tree line? The two green trees in this piece scream with warm, intense greens in the light, but out of the light they are icy blue in places.
Maybe the key to this piece is the warm, orange underpainting, which leaks through the colors in the foreground giving it an overall warm, advancing presence. Do ya think?
Thinking about the color wheel, I suppose that the yellow greens live higher, more toward warm than does the alizarin crimson based tree line. Whadda mind trick this painting is. Maybe you can explain it to me. ( I am serious!)
P.S. I’ll be signing off for a few weeks. I am going on a ‘walkabout.’ That is to say I’ll be travelling for a few weeks. This time no paints will accompany me (ouch!) Painting has always been my mistress, but this time I am taking the real mistress with me. She gets all my attention on this junket. If you knew her, you’d wonder who’d be able to pay attention to anything else! I’ll prolly be chewing my nails and twitching from the absence of paint and making art when I get back, but we are going where it’s a bit cold. So, there’ll be some snuggling happening, I am sure of it! 😉 (Maybe that’ll help!)
Meanwhile, be sure to tell me what you think about this color curiosity in the comments section.
As you can see, there is much to paint! Shapes, reflections, textures, shadows, lines . . . more experience to rack up (brush mileage). This was a wonderful day!
This was another test for me . . . . A test to remain spontaneous and loose. My tendency is to get tight with my work, but I adore the looseness of both oil and watercolor as it enlists the viewer to employ the imagination.
The textures of the trees, the warm to cool transition, as the viewer goes down the ‘tunnel’ and all the color and edge variations in the shadows are the three things I had really concentrate on the entire time I was painting. It may seem silly, but I needed to take an athletic stance in front of the canvas and hold that long brush all the way at the end of the wooden handle. This painting was painted from my ankles up . . . .moving my entire body to lay in the strokes, sometimes. By the end of a six hour session, I was exhausted physically . . . . .but pleased with the outcome.
A few days later, what needed work was quite apparent. I attacked those areas with the same mental attitude of *suggesting* and *Implying* rather than explicit explanation.
After this painting was finished, I began to think I might be catching on to oil painting.
“Noon at Walnut Ave.”
oil on canvas panel, 12 x 16 inches
On my third painting trip to Walnut Ave, I saw for the first time!
You think that’s silly? I walked this street at noon almost daily all the while I was in high school! I drive through the street often. My mom lives nearby. I take guests down that street to see it. On my third painting trip, I suddenly saw it differently . . .and made a huge realization. I saw big, amorphous, individual shapes in the canopy of trees over the street. Wow!!
So, here is a progress documentary of how this painting developed . . . .The decision was made to double the painting size, affording more room to express shape, color and texture.
Photo 1. First, the space division problem from yesterday had to be resolved. The sketch was roughed in using transparent oxide red. This is where I spotted the individual shapes in the canopy. Thin color washes were thrown in using a lot of mineral spirits so to set up a progression from warms to cools to the end of the ‘tunnel.’
Photo 2. Continuing with the thin washes I get excited at the progression of yellow greens to grayed blues down the tunnel. I am becoming aware of another possible space division issue with the band of white light on the street surface across the width of the painting. What to do?
Photo 3. A few warm spots, such as the stop sign and a few points toward the end of the tunnel are put in and a few suggested darks are placed into the under side of the canopy. The warm red tones are such a contrast to the green that they act as parenthesis around the white shape at the end of the tunnel, the center of interest. Perfect! I am getting more excited, but the space division issue needs to be resolved soon.
Photo 4. Now the thicker paint layers are put into the greens and other places. Am conscious of the strokes and their direction as each is placed. They help define the light. A false start with the wrong tone is placed into the foreground shadow . . .it is too dark and too warm . . . .but that sets up the hint of what to do with the space division challenge.
Photo 5. Connect the shadows across that white shape! Link them, thus leading the eye directly back to the center of interest. Now the foreground “lights” are warmed up with a pale yellow and very light magenta (hard to see in the monitor) . . .thus bringing the foreground forward and setting up the recession into the tunnel. Edges are softened along the shadow exteriors and some of the interior ‘holes.’ The suggestion of a line of parked cars is begun.
Photo 6. Fine tuning now before it is time to fold up my easel to go home. I can see some places which need more fine tuning, such as the cool grays toward the end of the tunnel in the canopy. Will have to fiddle with that one, but not today. A few darks are added on the far left and the tree trunk is softened. Maybe that isn’t the correct move. Will need to re-evaluate that later, too.
Overall, this was a great day in plein air! I can feel the process becoming easier as I tackle more difficult tasks. This experience really slammed home the idea that one must truly OBSERVE and look again before diving into the obvious.
After coming home and putting the painting in a trial frame for a few days, it gave the paint a chance to dry and me a chance to look it over with new eyes. So, yesterday, I spent a few nice hours making adjustments and revising a few things. I so enjoyed myself that I am going out again today. I think Walnut Avenue will be a good place for the day.