I’ve been putting some final glazes on these flowers and foliage and really enjoying it. Some manners of painting don’t use glazes at all, going after that modern matte flatness, the truth of paint on a surface. In this type of painting I want the illusion of depth. I want the viewer to look right through the picture plane, with forward parts almost popping in front of the painting itself. It’s a dimensional composition leading your eye in, around and back out again. And when you are up close there is no doubt it’s just paint on a board. We always have to simplify, leaving out as apposed to leaving in. I’m leaving a lot in at this point, it’s consciously full. Now I want it even brighter… maybe the next one.
I’m trying to spend enough time this summer to get a few garden paintings done. They don’t come easy. I have a tendency to put in way too much and not simplify enough. It’s one of the issues with working “Plein Air”. Nature has more than a simple painting can handle. Every place you look is beauty beyond belief. I’ll just keep trying and appreciate every moment spent outside observing. This painting is coming along, started while sitting in these flowers, then worked on for a while in my studio and now back outside. It’s changed so much in a few days that I don’t know it this will help.
I finally figured out that the most interesting morning shadows are off to the east from our house. This is looking from the north section of our east hay pasture. We planted these poplars …. hmm, a few years ago.
I’ve been getting up pretty early for me, and heading outside for the morning light. I usually have a piece of paper taped-off and readied on a watercolor block. If I get to it I might even do a wet into wet sky the night before so the paper will have time to dry and be ready to work on in the morning. After the initial layin out in the field I take it back to the studio to finish.