Showing posts with label Ozarks. Show all posts
Showing posts with label Ozarks. Show all posts

Wednesday, February 14, 2018

The Back Forty

"The Back Forty"
18X24, Oil on Panel

This one is another repaint of an older painting.  The original version of this was completed in 2009 and was shown at a gallery in North Little Rock called Ketz during it's brief life.  The original version is still in my possession and will now either be destroyed or put into deep freeze.  The image was a complete fabrication from my imagination, cobbling together a variety of motifs from the Ozark Mountains.

#8 of 50

Thursday, February 8, 2018

The Things Between Darkness and Light

The Things Between Darkness and Light
30X40, Oil on Canvas

Here is the large version of the study I posted a while back.  This piece again made me question ever working on canvas again.  I just do not like the brush feel of the surface.


#7 of 50

Sunday, January 7, 2018

A Study of Mountains and Sunset

A Study of Mountains and Sunset
6X8, Oil on Panel
Available

Here is my first of 2018!  This is a little sunset study of the vista above Marshall, Arkansas.  I took the photo for this over Thanksgiving.  A 30X40 version of this scene is in works right now.

#1 of 50

Wednesday, December 20, 2017

Gather Us Upon The Mountain

"Gather Us Upon The Mountain"
8X10, Oil on Panel
Available


This is a complete, from scratch, remake of a painting I did way back in 2009.  There were, of course, a few changes.  It is based upon a view of a place called Red Rock Point in Newton County Arkansas.  I have several other of these old paintings that I think have a lot of possibility and need be executed again.  Once the new version is complete, the old one will be destroyed.

Thursday, June 8, 2017

A Sparkle on Bear Creek

A Sparkle on Bear Creek
12X16, Oil on Panel

There is a little swinging bridge right next to where you would stand to see this location.  That might make a really nice painting some day as well.  There are quite a few Bear Creeks in Arkansas.  This one is right outside of Harrison before turning north to run into Bull Shoals Lake.

#10 of 50

Thursday, September 22, 2016

Always Coming Home

"Always Coming Home"
30X40, oil on canvas
SOLD

In memory of those I've loved and lost
and who have already gone home.

Tuesday, August 23, 2016

Thursday, August 11, 2016

Where the Birds Always Sing

Where the Birds Always Sing
11X14, Oil on Panel

I took a photo of this place near Snowball, Arkansas about a month and a half ago or so.  We were going to visit my wife's grave and I made a stop along the way to take a look the old Snowball General Store which was for sale at the time.  On the way, I got a text from my cousin-in-law telling me that my uncle was not doing very well.  We went to visit him one last time.  He passed later that evening.

Friday, August 5, 2016

Crack the Sky

Crack the Sky
8X10, Oil on Panel
SOLD

Yet another one started on site and finished in the studio.  That seems to be a very common theme.  Maybe one day I will start to be contented with my plein air work in a single session.

This is the underneath of a natural bridge at Alum Cove in Newton County, Arkansas.

Wednesday, August 3, 2016

Linger Long

Linger Long
8X10, Oil on Panel
SOLD

This was my first foray back into plein air painting after breaking my wrist at the beginning of January.  This is Falling Water Falls again.  I think this is the 3rd or 4th painting of it I have done.  It was a very cold day and I remember being worried I might fall and re-injure my wrist as I made my way back and forth from the van with my supplies down steep slope to where I was setting up.  Many photographers came and went, snapping hundreds of pictures, as I stood there in the cold making one single one.


Monday, June 27, 2016

Fall...and Fade

Fall...and Fade
9X12, Oil on Panel
SOLD


I started this one on site in the Richland Creek Wilderness on a cold and windy evening months ago.  I actually finished it quite a while ago too but as usual, I am slow in posting work.

Tuesday, March 1, 2016

Leap Day Progress



I worked on a piece I started in plein air a few weeks ago in the Richland Creek Wilderness.  It was really cold and windy up on the top of the hill and I only had time and endurance to capture the basic color notes of the sky.  

Wednesday, August 5, 2015

The Water Whispers

The Water Whispers
6X8, Oil and Golden Opens on Panel
SOLD


This was my first nocturne produced with Golden Opens.  Obviously, I was able to overcome the issue with making nice deep darks using Ultramarine blue and Dioxazine purple.  I did make some touch ups to this in the studio with oils but they were not major.

Sunday, August 2, 2015

The Depth of My Dark - More Golden Opens Talk



I first began experimenting with Golden Open acrylics sometime in January of this year.  My primary objective was to use them for plein air work.  My main motivation in trying this specific variety of acrylic was that it walked in the boundary between regular acrylic and oil in terms of workability.  I tend to have a habit of not being super happy with my plein air work and doing a range of tweaks to it in the studio ranging from just some very simple touch ups to full repaintings.  I wanted to be able to make those tweaks while still on location by giving the painting some time to dry which is not remotely possible when using oils.

As you may remember, I started with just a small handful of colors to begin with.  I chose colors that were frequent players on my palette and with which I was comfortable.  However, I quickly noted some glaring differences in the way in which these colors played together.  Firstly, I realized that these acrylics apply much more translucently than oils typically apply, very glazy.  I think this is primarily due to the fact that these paints are pretty soft in body and go on pretty thinly.  But my main issue dealt with the relative lack of depth I could achieve in the darks.  I think a big part of this was that the red oxide I bought was inherently fairly opaque and so, when mixed with cobalt blue, it made an interesting earthy purple and not the deep dark typical of cobalt and transparent oxide red.  I also noted that the Golden Open cobalt blue was lighter in value and more opaque than most standard cobalt blues in oil.  It was a fascinating color, just not what I needed.  Still, I made do the best I could and produced some passable paintings with that palette (some getting touched up in the studio with oil.)

However, before a backpacking trip that I was looking very forward to, I went to the LASS (Local Art Supply Shop) to see what all I could get to help out with this conundrum.  I already had some colors in mind and hoped I would find them there.  But during my perusal of the Golden Opens I noticed the Transparent Red Oxide (as opposed to merely "Red Oxide" which I had purchased) and I knew I had found one of the main reasons I was having trouble making nice deep darks.   I was much happier with my results the next day as far as making nice darks.

So here is the list of colors I added:

Dioxazine Purple
Hansa Yellow
Ultramarine Blue
Transparent Red Oxide
Yellow Ochre


Thursday, December 18, 2014

Prelude to an End

Prelude to an End
8X10, Oil on Panel
Available
 
 
This is a little plein air I did a few months ago as the fall color started to come on.  This was on the Illinois Bayou in the Ozark National Forest north of Hector.

Wednesday, February 26, 2014

20 Favorite Paintings #5, Mountain Home Church by Harry Louis Freund


Mountain Home Church


Harry Louis Freund was a Missouri born, Arkansas based painter.  Most certainly my favorite non-contemporary Arkansas painter.  He is often identified with the Regionalists Grant Wood, Thomas Hart Benton, and John Steuart Curry.  Like them, he painted many murals and scenes that were immediate to his surroundings.  Unlike them, he never gained a great deal of national prominence, which is very unfortunate because I feel the integrity of his work exceeds those of his contemporaries with the possible exception of Wood.  Freund did not tend to practice as much of the visual exageration that can be seen in the work of Curry and Benton.  You can read more about him here.

It should come as no surprise that I identify with the Regionalists in spirit if not totally in style and mannerism.  In Freund, I find not only a Regionalist, but an Arkansas Regionalist, and one whose style I find to be very pleasing.  In many ways he is almost a way marker for me.

In this particular piece, I like how he captured all of the "stuff" around the building without over detailing.  It has that appearance of quickly done well with only enough to tell you what's going on.  The trees are well massed but not in the modern day plein air tendency which would have you mass the entire tree shape and then pop in the sky holes.  He has clearly here built the trees as skeleton structure with the massing taking place over that.  The trees at the edges of the picture may be done more in the modern manner but it is hard to tell without seeing the actual piece.  There is also a lot the appearance of dry brushing here so I wonder if he worked this one in layers.

There is another Freund piece of a typical Ozark farmstead which I like a sight bit better than this one but I cannot find any pictures of it.  If I do ever find a picture of that, I may devote another Favorite Paintings post to it.