TM9169 Poet’s Point 34×40 oil on panel
I’ve been visiting this particular outcrop for quite a few years, mostly in the mornings and late afternoons either going to or heading home from the studio. There were a few mornings, not too long after sunrise, when I had an opportunity to watch the local beaver responsible for designing this wetland. It’s a beautiful achievement. It wasn’t until I visited the spot nearer to 11am this past May that the light was finally perfect for painting. So I have a beaver to thank, and a particularly bad commute. Oh, and about the poet………….maybe next time. Enjoy.
TM9169 Poet’s Point – detail
TM9163 Wake Me Up, September! 36×36 oil on panel
Wake Me Up, September! is one of many paintings that will be going to shows later this year. I’ve been fooling around with color and new ways to layer it, enjoying a bit more saturation too. I think it’s partly because autumn is so bright, but it’s also a new appreciation of what saturation can accomplish – the way it delivers a thrill. Details below. Enjoy.
TM9163 Wake Me Up, September! – detail from left of center showing loosely painted layers of brush and roller-applied paint
TM9163 Wake Me Up, September! – detail from upper right
TM9163 Wake Me Up, September! – detail from lower edge of painting with cloud reflection
TM9160 Ode to the Frail and Fluttering Leaves 36×54 oil on panel
Another interpretation of looking through trees – a bird’s-eye view, maybe? I don’t know if I’m swooping in to land on a branch, or studying the whole scene in the pond’s reflection, but it’s a tumultuous world of light and color and I’m loving it! Details below. Enjoy.
TM9160 Ode to the Frail and Fluttering Leaves – detail from lower edge showing soft focus roller paint application with sharper edged brush work
TM9160 Ode to the Frail and Fluttering Leaves – detail from right of center showing brush and roller paint application
TM9160 Ode to the Frail and Fluttering Leaves – detail from left side with sky and clouds
Technical painting notes: Adding Winsor Newton Liquin Impasto Medium to the oil paint speeds the drying and makes rolling out color easier. I often use half medium/half oil paint when rolling. It also increases translucency and provides a kind of glow as the colors layer over each other. When working with the roller, remember you can let it “hop, skip, and jump” its way across the surface, or use the edge of the roller for thinner lines.
TM9159 Ode to a Color Beyond 42×48 oil on panel
Sometimes I can’t believe what I’m seeing, especially in the fall. Neon reds – crimson, fuchsia, coral, cranberry – each color singing at full strength across the meadows and woods. It’s an extravaganza for the eyes. Ode to a Color Beyond describes one of those days, with brilliant trees and a deep blue sky reflected in the pond. White clouds provide relief and balance.
As to the title, at first I thought I would title the painting “Ode to a Color Beyond Belief.” And it is still about that, but by dropping the word belief, the title broadened to include the space beyond, the idea that the color is seen in more than one place (the pond reflection, the actual trees). It also implies that the color is beyond both belief and expectations – which is true. It’s a celebration of red and a time of year and a place – and the pure joy color can deliver. Enjoy.
TM8579 Autumn Falls In 48×36 oil on panel
As a close observer of ponds, I’m particularly attached to the multitude of colors and flotsam that seep into the pond in late September and early October. Every shade of red, vestigial greens, and notes of burnt ocher and sienna. Autumn Falls In is about the way everything seems to end up in the pond – every pine needle and maple leaf, every patch of blue sky and cloud,
TM8579 Autumn Falls In – detai from lower right with floating leaves and reflections
The painting took a few years to finish. I worked on it and sent it to a gallery, then recently reworked it again when it came back to the studio. A year or two can make a huge difference in the way one sees something – both what one actually sees, and one’s skill’s for interpreting what’s seen. Autumn Falls In, the first version, is below. You’ll note that there was less red, and the larger, floating maple leaves are more numerous and lighter in tone in the final version (above). I also increased the “light” in the painting for a less somber mood.
TM8579 Autumn Fall In 48×36 oil on panel
TM9154 When the Rain Stopped 36×40 oil on panel
It is called a conservation area, and I understand the value of the diverse habitat, the necessity of wetlands for preserving clean water supplies, but all that disappears when I’m walking the trails. Then, the woods become restorative – a place where calm can seep into your very bones. Wind in the trees, the “plop” of a frog jumping, birds singing, and the ever-present stealth of the heron stalking, I long for it when I’m away, and breathe more deeply when I’m there. I hope you, too, enjoy a visit via this painting. Details below.
TM9154 When the Rain Stopped – detail from shoreline
TM9154 When the Rain Stopped – detail
TM9143 Corot’s Morning 36×36 oil on panel
I began Corot’s Morning last winter, on a day when I was yearning for the warmth of spring. The first day and layer of painting went well, with the major shapes blocked in using monoprint techniques to create textures “behind” the leafy trees and water reflections. After weeks of drying, and much thought, I finally picked up the brush again and finished it. Now it can join two previous paintings in my series devoted to the idea of painting alongside the great landscapist Camille Corot. Details below. Enjoy.
TM9143 Corot’s Morning – detail with foreground reflections
TM9143 Corot’s Morning – detail from left side