Here’s the third attempt at the Jekyll Island Marsh scene. I wanted to try it on a linen panel and with a slightly different cropping.
He’s a little painting of the morning fog and mist in Chattanooga with a few cows grazing. I love painting scenes like this because it forces you to intensely look at what you are painting and not fall back on “rules.”
I’ve been in a funk lately and had been staring at this canvas for almost two weeks before jumping in and finishing it. It’s a bit of a mess, but sometimes you have to complete something so you can move on. Or at least I do.
We’ve been having so much rain here in Georgia lately. One Saturday we had a window where was only misting and our family spent some time at a local park. It had been weeks since I painted outside, so I bright my small pochade kit and knocked this out while Evi played.
Holy cow, this one is finally done. I’ve been noodling around with it for almost two years and got to the point where it had to be complete. At 48″ x 48″, this is the largest painting I’ve ever done. The canvas was so large that, after buying it from Hobby Lobby, I could not get it in either of our cars and had to call my Dad to bring his truck so I could get it home. I learned so much over the course of painting it and battled a serious aversion to working large. I’m just so glad it’s done and on our walls…
For perspective, here’s how the size compares to the study (No. 222 from 2013) so you can see proportionally how large it really is. Pretty crazy. Needless to say, I’m back to the small stuff this week.
Here’s a slightly larger version of No. 322. I did not capture what I wanted to with this one but it was a great exercise to work on how light moves across the marsh and trees.
We rode our bikes around Jekyll and I was able to capture a nice shadow and light cutting across the marsh by the bridge to the island. This is a smaller study for a slightly larger (10″x 8″) version.
We took a trip down to St. Simons for Fall Break and I was able to do a little panting while we were there. This was my first attempt and it really stinks. I tried to prepare, have a plan, and work through the process but this was as far as I got. Who knows, some days you just don’t have it. I’m going to try it again though because I know a good painting is there.
No. 319 is one more interpretation of the marsh view from Amelia Island. One huge thing I learned at the workshop with John MacDonald is that I do not have to blindly follow the photograph. It was amazing to watch him move things around on the fly to improve the composition or feel of a painting. So with this one I kept the paint very fluid at the start and moved it around until I was happy. I had toned the canvas with a warm color, and it gave the painting a sunrise vibe that felt great, so I followed it.
A couple of weeks ago I attended a one-day workshop with Jim Richards that was organized by Art Station in Stone Mountain. They scheduled the event as a part of their Stone Mountain Plein Air Paint Out event.
The weather did not cooperate, and we ended up getting rained on all day, but in a strange way it worked out great. I’ve avoided painting in any kind of weather up to this point, and it was so great to watch Jim set up and handle it without being bothered at all. After experiencing the day, I can understand how you might even seek it out and how weather adds a new level of interest. The process was sort of a mess, but I learned a tremendous amount.
The only downside was that after the full day of painting I was so gassed that I could not drag back over there in the rain and participate in the actual paint-out event. Which was a bummer.
A note about the actual painting: As stated above, this was done as part of a workshop with James Richards. He directly helped me with the site selection, composition and even painted on this. So, yes, I painted it but anything that is working is a direct result of his input and work.