Still painting from home. I used a reference photo from a trip to Portugal a few years back. Urns always remind me of renaissance literature where we learned about their womb/tomb symbolism. I suspect this one held olive oil or wine… both symbols of a good life. I also love the persistence it represents in the face of nature’s harsher elements. I find the colour of the terra cotta more vibrant because of the chips and moss cover. To me, it speaks to the beauty of aged things. I hope you like it.
Cabin fever and sunshine drove us outside today. I dropped hubby off at the put in with the canoe, then drove down to the takeout to paint for a couple of hours. Plein air skills get rusty over the winter. Kudos to the joggers, cyclists, dog walkers, and hikers I saw who resisted the urge to see what I was doing. Everyone kept the recommended distance. Getting out to paint today was good for the head and heart! You could say it was a breath of fresh air.
I took the reference photo for this painting several years ago thinking I would do it in watercolour. The recent pandemic has caused the postponement of an oil painting class I was taking from Ron Hayes at ArtCan Gallery. Unable to work on the one there I decided to try this one in oils in my home studio to pass the time.
It’s not entirely keeping me from obsessing about the train wreck unfolding across the globe but it helps. I hope it brings you a moment of peace. Wishing a speedy recovery to all who are sick and please everyone stay safe.
Though some of the white space has disappeared, I feel these clouds are stylistically more in line with the realism of the beach compared to my last post. It’s very easy to overwork clouds and I am almost never satisfied with my first versions. Another layer likely wouldn’t be prudent. It’s time to leave this and move on.
I worked this up today from a photo I shot on a vacation a few years ago. I initially wanted the hard edge on the clouds but have since changed my mind. I’m not sure that’s it though. The shape is odd and the centre is a problem in how much it pulls the eye, Lifting off pigment could fix it but more than likely would make it worse. Perhaps carrying the dark cloud farther to the right would be a better solution for unifying the right and left of the composition. Maybe a bit of both.
I was going to write today but a misty North Mountain was calling. I tried some loose work on the first sketch but dissatisfied I simplified my composition by taking a closer view and let the water and paint do most of the work on the second sketch. Let me know which you prefer and why.
This one took a while to complete. The title says it all. I did add a little more contrast to make some of the branches and the owl come forward in the painting. The blue green moss is a mixture of cobalt blue, hansa yellow light, and lemon yellow. Interestingly, the dark greens were mixed with the same pigments in different amounts.
Once again I have to thank Pam Butler for the great reference photo she let me use. It really makes a difference to begin with a terrific photo.