Three more winter fields – sometimes it’s all about simplicity.
Imaging myself as a bird in a tree, surrounded by so much brilliant yellow, what joy!
On the other hand, stepping back to admire crimson leaves and bare twigs against a cobalt sky, what could be more beautiful? I’m glad I don’t have to choose either or……far or near. Enjoy!
I think of my little paintings as haikus – so much to concentrate into a few square inches, and so much I want to say about October – that splendid month!. Enjoy.
The fields are dormant, but under that snow there are tunnels and nests, life and hibernation. Winter wears many disguises. What can look so beautiful and nearly empty is still full of life and life’s potential. Or evidence of life’s tenacity.
Sometimes the oaks refuse to give up their leaves, as evidenced in Winter Fields #4. I think it’s because the leaves know they can’t really compete with scarlet maples, but in a world of blue and white, their bronze leaves will offer glowing color, especially in the late afternoon light. We all have our time and place. Enjoy.
I love the sparkle of winter; I love the way snow abstracts the familiar and makes it magical, and I love figuring out how to get that magic into a painting. In preparation, I’ve started some small studies based on fields I visited last winter. Here are the first three, with more to follow… Enjoy!
Technical painting notes: The paintings are on rag watercolor paper, primed with clear shellac on both sides. I used oil paint and alkyd medium, working mostly with a palette knife (and a small, flexible nylon flat for details).
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.