I’ve been visiting the banks of the Assabet River occasionally, enjoying its meanders and charm. These four oil studies show the transition that happens every. The first is from early September, the following three are resplendently late September and October. Enjoy.
These two mirrored compositions with still water and reflections are a delight to paint. The “other” world, upside down and mysterious, needs to be convincing but not fussy. I used a palette knife plus a little brushwork to find the forms. The colors are less saturated – by September the greens start to look a bit tired, as if they really can’t wait to get the dressed up again in gold and yellow. Enjoy.
After a summer of coastal painting, these trees feel like exotic subject matter, and a challenge all over again! Practice, practice, practice…….
The scarred fingers of ledge reaching into the water at Bass Rocks are such a gorgeous color – all ocher and red oxide, not like the grey granite found toward the middle of the state, or like the maroon, black, and deep mars violet cliffs you can find up north between Lubec, Maine and New Brunswick, Canada. So much color and geometry, so little time! Enjoy.
Layers and intrusions, it looks so different near high tide! I especially love the purple/green seaweed on some of the lower surfaces. On it goes!
It’s important to remember that something as apparently soft as water can take down a mountain. New England’s geological past included mountains that could vie with the Alps. All it takes is a few Ice Ages and a lot of weather and time to render that mountain into fractured headlands or shifting sand dunes. Isn’t it amazing?
The summer studies continue with this small painting from Bass Rocks, so easy to recognize with that honey-colored glow. This one is on a rougher watercolor paper, which lends its coarse texture to the stone. I used a shellac primer so the texture wouldn’t be compromised by a heavy pigment coating.