Thursday, September 25, 2008

Delta Painting

Delta Afternoon, 12 x 12 inches.

Kim Fancher and I drove out to the Sacramento/San Joaquin Delta two weeks ago and painted in the lovely afternoon and evening light along the levees. The Delta surprised me with its unusual beauty--I felt as if I had traveled far from home, instead of driven for two hours. I hope to go back very soon.

Marsh Seven and Eight

Marsh Seven, 6 x 6 inches, oil.

Marsh Eight, 6 x 6 inches, oil.

These two paintings were done at the Oil Painters of America Paintout at the Palo Alto Baylands. I was pleased with the paintings, even though the day was overcast with flat light.
Ordinarily, I would be in the studio on such a day, having resolved to avoid potentially boring painting conditions. I especially like the painting harmony and composition of the second painting--it reflects the quality of the day very well.

Still playing in the Marsh

Marsh V, 6 x 6 inches, oil.

Marsh V, 6 x 6 inches, oil.

These two continue my recent series from the Marshlands close to my home. I am enjoying seeing the color scheme continue between painting sessions.

Tuesday, September 09, 2008

Two more from the Marsh

Purple Distance in the Marsh, 6 x 6 inches, oil.

Last Light, 6 x 6 inches, oil.

Here are two more to continue the series from the previous post. These early evenings with warm weather make painting a true pleasure. Again, I like the color harmony I found in the second painting here, with the yellow/purple contrasting with the orange in the midground reeds. As always, the loveliest part of the evening is not on the canvas--an egret lifting ponderous, light-soaked wings over the reeds and water.

Two from the Marsh

Trees at the Marsh, 6 x 6 inches, oil.

Path to the Bay, 6 x 6 inches, oil.

Yesterday evening I spent some time at the Baylands in Mountain View, watching birds, and light and painting the evening colors. I particularly like the vibrant knife work in the second painting. I started out with the foreground much fussier with blue shadows striping across the path, then took them out in disregard for reality, but respect for pictoral integrity. The ommission bounces the focus back to the distant trees at the top of the composition. These little plays are always fun.