Thursday, April 8, 2010

the lake wearing spring

Kept working...for better of worse, I needed to get the idea I visualized... that hazed spring morning. At one point all methods get  tossed. I am back to painting, wiping, rubbing, and scratching. I will try to stop now. I forget who said "paintings don't get finished, just abandoned." I think it was Leonardo. I guess they just have many ending points.


Double "D" said...

Hi B!!!!!!

I think you've got it. Great colors dancing gently with others. The haze is beautiful ... looks like a very humid day. So, is this the end point?

Hope all is well!

Janelle Goodwin said...

It's hard to know when a painting is finished - only the artist can say for sure. But I love the saucy glazes of color and the fact that this painting is pure Loriann. You've incorporated your unique style in oils. It's so wonderful!

loriann said...

Hi PB!!!
Is this the end point, eh???? For now;-) I am on to another one ....
Now PB, you KNOW watercolor paper: is there a good watercolor paper (without those irritating bumps)that would accept pastel? Smooth is what I am trying to say(fumbling)...but porous and it won't buckle.

Hi Janelle,
Thank you for your kind words. I am trying hard to find my voice in oil vs pastel. I am actually starting to appraciate the medium.

Nika said...

Sometimes it's easier to see what needs to be done from the outside.
Being the one outside of your head, I'll give you an unsolicited piece of advise:)
I think a slight difference in value between the large mass on the left and it's reflection needs to be introduced. It could be a narrow band or a larger area, but a division between them would help. It doesn't need to be very dark, just something to imply that they are two different entities, because right now they are very close in value and color, and that makes it a bit confusing.
Otherwise, I like it a lot!

Double "D" said...

Hi B,

I think what you're looking for is hot press finish.
I use Arches or Fabriano. If you want paper that definitely will not buckle then a 300# weight will work.
It's kind of pricey but you could try 140# weight.
You can get individual sheets that are 22 x 30 or watercolor blocks in several sizes. 4 x 6 up to 18 x 24. The blocks might be better for your purpose. If you paint on the block and don't remove the sheet, it stays fairly flat. I should probably go try pastel on hot press ... be back in a minute.
Seems to work alright but remember I'm pastel challenged. Would you like me to send you a few pieces to experiment with. It'll save you a few bucks. I'd be happy to do it.

Anita Stoll said...

While the ultimate decision is up to the artist to stop, it is helpful sometimes to get some input from other artists whose opinion you respect. Otherwise I live with my nearly done paintings a while (up to nine months on some) making some changes or not as time living with it dictates. A satisfied feeling overall that stays with me is a good indicator of that it's done.

loriann said...

Hi Nika, thanks for the advice. I think you are right..the reflection should probably be a little darker. thanks!

Hi PB,
Good press, no bumps? That's so sweet of you to offer a couple of pieces of your stash. I would love just a tiny piece..maybe a 6x6" like I have been using. I know you know. That's so sweet!

Hi Anita,
It's funny en plein air it is much easier to stop. In the studio there is always more. Thanks for the advice. I still think it will always be hard. I have actually taken paintings back (from friends who purchased them) and "finished" them. To me that overall feeling of good can change when i know a new way to do it. Oh dear!

Karen E. Lewis said...

Very nice. I can feel the warmth of buds and young leavds on the branches.

Jala Pfaff said...

A similar quote I've read is something like: There's no such thing as a finished painting, only good stopping points.
This is gorgeous.

Caroline said...

I think that paintings can get overworked and then they lose their quality of light. I am amazed as usual at how you can paint on such a tiny picture so to me the size of the painting is very important. As a tiny painting I would think that too much detail would over whelm the work yet if this was painted on a 24 x 18 inch canvas then I would like to see a little more detail even if it is only a bit more. I think maybe more contrast would then be needed but only very subtle. The advantage of working so small gives us the freedom to simply work each day and to learn. I am learning so much by visiting your inspiring blog each day. I think you have a wonderful command of 'light' in your work and I love the simplicity of composition which does not distract us from viewing the 'light'.

Pam Holnback said...

I've stopeed and wondered, too. I think you chose the right place on this one. The colors work well in their subtleness.

loriann said...

Thanks Karen! I know your first love is plein air painting like me. Being out there helps make the feel. Bringing it into the studio is the challenge.

Hi jala!
Good stopping points, that sounds right...and there are many of those. in pastel it's a little different because of the loss of space (to apply more pastel) on the paper disappears and freshness is easily lost. thanks about the painting.

Hi Caroline!
Tiny paintings are great, especially when the artist is exploring a process .. trying to understand. When i work big I need to know more so I don't rush.
Thank you about the light and YOU know light!!!