warm trees remake

This painting began as a plein air study that never quite found its voice. See the study below- finished painting on top.

When I return from painting I normally place the board (onto which the painting is taped) on one of the sills in the studio. That way I get to live with it before making new marks. Usually, if I wait long enough the painting will tell me what to do.

This time the remake process began with smoothing out the lines and divisions so that I had more freedom to decide where the diva (center of interest) should be, in addition, where her supporting cast would do their job. That done, I sprayed a little Sennelier fixative so that I have a fresh beginning. I wanted the grasses to have a strong vibration that moved up the off center trees. I also wanted to lose the sharp melon colored border. The whole painting needed softness- less contrast. I later decided to have a delicate mesh-like peek-a-boo feeling in the grasses in the diva spot.
When you are no longer at the scene and do not use photo reference you are freer to look at your painting as an abstraction of color. Do you do your own remakes?

pastel demonstration: red and violet threads

red and violet threads, pastel 11.5x12

Saturday afternoon was my pastel demonstration at the Waverly Street Gallery. It was great to see so many people there! I decided to work on two different paintings. First, I showed how I begin a pastel and worked for about 45 minutes.For the second painting I demonstrated how I finish a painting, the thinking that goes into it. Most paintings need a "resting time" before finishing, therefore I worked with two different paintings. Above is the painting I finished at the demo.
For me, the unusual thing about this one was, I began with a used piece of watercolor paper that had black pastel all over it. I had begun a negative space eraser drawing and decided I didn't like its direction. Later, I wiped most of the black off, but it still left a very dark piece of paper. (I normally begin with white.) On a whim, I chose it to create a new color pastel.  I covered the black with large shapes of dark purple(tree and grass) and a lighter blue (sky areas.) After the shapes were massed in, there was a whole different feeling. The color rose out of the darker space. I rather liked working this way and will try it again this week.

tree studies and quality of line

                                                 

 Like a person, each tree has a distinct personality. I think we show that personality through our use of line, its quality. Varying the line between thick and thin can imply many different things, two of which are space and light.   For instance, I  chose a much darker line, at the base, where I wanted the tree grounded and coming forward. I made it lighter where the sunlight struck the edge. In addition I used  the white of the paper to imply more space. It allowed the tree to "grow." The other trees in the background fade back with weaker lines. It provides  a slight indication of space -but not too much, I kept it intimate.

back to basics with Corot

Seems like I just need to go back to the basic drawing- find the grace and eloquence in trees.

                I leave with you words of wisdom from Corot's sketchbook:

“While I’m seeking conscientious imitation, I do not for one minute lose the emotion that overtook me. Reality is part of art; emotion completes it. If we were really touched, the sincerity of emotion will pass unto others.”

Another nugget of gold from one of Corot's pocket sketchbooks:

 “One would be wrong to get discouraged after two or three mediocre studies. It is the preparation of the good one that profits, without us noticing so, from this seemingly sterile work.”

And just one more:

“In the artistic career, one needs conscience, self-confidence and perseverance. Thus armed, the two most important things in my eyes are the strict study of drawing and that of color values. "

The Watchful Eye

9x9, pastel and watercolor on Uart paper $150.
This painting has been sitting in my head for a few days now. There is a line of trees in front of the reservoir and lately they have been catching my eye. It's interesting to me because, in the past, I tended not to choose foreground importance in a painting. Today I felt bold. I even intentionally broke the " don't but your main object in the center" rule. I think it works because my actual area of interest is above center. What do you think?