Thursday Stories- "Way to the Coach House"
Summer time means we can visit and paint lush, sumptuous garden subjects..one of my favorites.
Here is a " throwback" to a piece from a Hudson Valley garden; but it could be from many locales.
"Way to the Coach House", pastel, 16x18
Designing garden pieces is a little different than working with a landscape without colorful blooms. I think that one almost need s to think like a gardener, in that it is important where the blooms are placed.
By that I mean I think of painting them right at the beginning of the painting, in the early stages right along with value patterns, even though individual blooms are a small element. This goes against the usual way of placing big shapes first, and then going to small detail near the end of a painting.
They are , as in reality, my focal point, and placed in such a way that they lead the eye in to or through the painting in an interesting way. Notice how the foreground roses are placed deliberately against a darker, cool wall for emphasis.
I also do not want my blooms sullied with color, so I leave the bare paper where the main flowers are going to go. I want pure, clean color. If it were an oil painting, I would be lifting out my preliminary wash with a q-tip.
The eye is lead back by the gradation of the size of the roses, and also by the path, of course. The middle ground roses were added on top of color that was already placed, creating more greyed color, and also depth. It is not necessary or desirable to have full color in these blooms.
Usually, anytime an architectural element is introduced in a landscape, it becomes a center of interest. It is, but it is not the main focus...here it is a background element. I accomplished this by using the same palette as on the pathway, and just indicating enough detail to suggest the building...no more.
This piece had been exhibited with the American Impressionist Society exhibition, back about a decade ago, winning an award in this prestigious venue.
It is newly available on my web site in the Artworks; "Thursday Stories" section.
www.christinedebrosky.com
Here is a " throwback" to a piece from a Hudson Valley garden; but it could be from many locales.
Designing garden pieces is a little different than working with a landscape without colorful blooms. I think that one almost need s to think like a gardener, in that it is important where the blooms are placed.
By that I mean I think of painting them right at the beginning of the painting, in the early stages right along with value patterns, even though individual blooms are a small element. This goes against the usual way of placing big shapes first, and then going to small detail near the end of a painting.
They are , as in reality, my focal point, and placed in such a way that they lead the eye in to or through the painting in an interesting way. Notice how the foreground roses are placed deliberately against a darker, cool wall for emphasis.
I also do not want my blooms sullied with color, so I leave the bare paper where the main flowers are going to go. I want pure, clean color. If it were an oil painting, I would be lifting out my preliminary wash with a q-tip.
The eye is lead back by the gradation of the size of the roses, and also by the path, of course. The middle ground roses were added on top of color that was already placed, creating more greyed color, and also depth. It is not necessary or desirable to have full color in these blooms.
Usually, anytime an architectural element is introduced in a landscape, it becomes a center of interest. It is, but it is not the main focus...here it is a background element. I accomplished this by using the same palette as on the pathway, and just indicating enough detail to suggest the building...no more.
This piece had been exhibited with the American Impressionist Society exhibition, back about a decade ago, winning an award in this prestigious venue.
It is newly available on my web site in the Artworks; "Thursday Stories" section.
www.christinedebrosky.com
Comments
Post a Comment