TM9003 Early Thaw 36×40 oil on panel
Early Thaw is a meditation on the color blue and its interaction with neutrals and the complement orange. It is also my response to a heat wave and mid-ninety degree temperatures in the studio. I needed to cool off, and what could be better than a winter painting to immerse me in a a chill?
That said, I’ve love the very last leaves that cling to branches all winter. They are papery thin and manage to hold on through all the gales and bluster. I admire them. I see them every year, and they never disappoint, or fail to inspire me. Pale and rather ghostly in contrast to the brilliant blue sky, they always make their presence known. They add a touch of wit to the serious season. Details below. Enjoy.
TM89003 Early Thaw – detail from left and below center with dry, fluttering leaves reflected in water on ice
TM9003 Early Thaw – detail from above center with leaves, branches, and vines reflected
TM9003 Early Thaw – detail from left side
Technical painting notes: I used a soft rubber roller to apply a thin, translucent sheen of pale blue gray to the water, to suggest a hint of ice
TM8997 September’s Ode 30×50 oil on panel
Strong ultramarine blue can be intoxicating, and I was drunk with it when I painted September’s Ode. The brisk blue autumn skies contrast so well with strong yellow golds and slightly violet browns. The whole painting was an excuse to use those colors, though I did add some vestigial green to balance it. What can I say – happiness and blue skies are meant to be savored. Details below. Enjoy.
TM8997 September’s Ode – detail from upper right showing layers, use of brush, scraping into wet paint, spatter
TM8997 September’s Ode – detail from right of center showing use of spatter and roller marks
Technical painting notes: As you can see from the details above, the painting is a mixture of controlled and loose painting. I used a soft rubber roller to apply the first base layer, then used it again for some of the last few green and yellow leaves. The roller’s staccato rhythm and choppy marks lend variety. I spritzed the base layer with mineral spirits to create the light “dots”, looking for a way to let it show through and keep the actual paint interesting. The process of layering transparent glazes and semi-transparent strokes increases the sense of depth. I use Winsor Newton Liquin medium to increase transparency and to speed drying.
TM8997 September’s Ode – detail with reflections of cumulus cloud and yellow leaves
TM8997 September’s Ode – detail from right side with reflections on shallow water, sunlit pond bottom showing through
TM8996 June Morning 36×48 oil on panel
There can never be enough glorious June mornings. After several days of cold rain, this is the view I encountered. And, lucky me, an old friend was there to share it. Enjoy. Details below.
TM8996 June Morning – detail from foreground with an old friend on his morning rounds
TM8996 June Morning – detail of woods from upper left edge
TM8994 A Small Piece of May 36×44 oil on panel
It might be the end of May, but I’ve collected small bits and pieces of the month and saved them in this painting, titled A Small Piece of May. It has the new leaves, the ones lost to a storm, the floating clouds and a Robin’s egg blue sky. And warmth. All the things I’ll need to remember next February when I’m shoveling snow. Enjoy. Details below.
TM8994 A Small Piece of May – detail from left side
TM8994 A Small Piece of May – detail from center
TM8994 A Small Piece of May – detail from right of center with reflections and floating leaves
TM8553 Any Day Now 36×44 oil on panel
Any Day Now is my return to a more abstracted pond – a close-up, angled view with young lily pads and a scattering of grasses. The details are still closely observed, but the cropping lets one see the pattern first, then the actual objects. Additionally, the staccato rhythm of grasses and reflected tree trunks and branches gives this painting a strong sense of movement and energy. And, as if that weren’t enough, I decided to paint in a breezy, cumulus-studded sky. As for the title….well, I’ve been anticipating the return of lilies….who hasn’t? The pads are here, the lilies will be open soon. Embrace the day. Details below.
TM8553 ny Day Now – detail from right side showing use of layered spatter and scraping
TM8553 Any Day Now – close-up with waterlilies
TM8553 Any Day Now – detail from just above center right
Technical painting notes: I wanted this painting to have more energy and lots of contrast, so the initial layer was a mixture of black and blues, with a touch of greenish umber. I worked quickly with solvents and my soft rubber roller to maximize the textures. Later layers focused on glazing and finding the negative shapes of sky between the branches and pads. Additional glazing with cerulean and ultramarine blue helped to suggest the pattern of cloud and blue sky. At this point, I almost thought the painting was done. I hung it on the wall to dry, and studied it for over a year. Eventually, I realized the lily pads weren’t enough – the painting needed more focus. I added some white lilies, positioned near the center, but light enough in value to “blend in” with the cumulus cloud reflection.
TM8993 Morning’s Poem 36×44 oil on panel
Morning’s Poem is a gentle meditation on pond reflections in the month of May. It is also a play between hard and soft edges, the interlacing of brush and roller work, and the precarious balance between near and far reflections. Throw in some flotsam and pollen floating on the surface, and you have the elements of a visual puzzle. I painted and repainted, glazed and rolled, looking for balance. As I worked, the painting lightened, perhaps influenced by the advent of sunny days. Those blue skies influenced the amount of blue in the painting. A few white clouds also found their way into the composition. One could say the painting is a summation of the week’s weather – cloudy, chilly, clear, then warm. That’s spring. Details below. Enjoy.
TM8993 Morning’s Poem – detail from lower center
TM8993 Morning’s Poem – detail from lower right