finished piece 18x18 pastel on Uart paper
after the first layers of pastel
7/31 watercolor underpainting 2nd layer
Using our small plein air paintings as fodder for creating bigger more conceptual works is a blessing and a challenge. While we artists know that photos lie and can not capture the same feeling that painting your own preparatory work can, using one's paintings still is no picnic. Most importantly, you have to develop a firm concept before attempting anything. (Am I sounding like a broken record?) I find that making written notes about the feeling and the place helps.
George Inness made his field sketches and then put them away for later reference separate. He wanted separation. I prefer to start from the plein air to the concept piece as soon as the idea is clear, preferring less space rather than more.
What do you prefer? And why?
Later there is a point in the process when the painting begins to speak. It's like the runner's high. It's that moment all artists love. All reference material can be put away...the trip has begun.
This painting was created from all my work at the slough this July.