"Assateague Island Sunset" (oil on linen panel, 8" x 10")

 

"Assateague Island Sunset" (oil, 8" x 10")

 

Assateague Island in the Eastern Shore of Virginia and Maryland is famous for its wild ponies. My family and I went there twice this summer for two short vacations. You can tell we love the place. We usually stay at Chincoteague, a small, less-touristy place than let's say Ocean City or Mytle Beach. 

There are beaches and salt marshes, of course, but Accomack County, Va, where the city is located, itself is a gem which makes you feel like you are thrown back seventy years with quaint towns and tiny islands to explore. We will be going back and I have already painted this lovely area quite a few times and more paintings are coming up.

In this image there were no ponies although they usually graze in this patch. After an overcast and rainy day, the exquisite sunset and its golden hues permeating the marshy landscape took our breath away! 

 

"Washington Monument Cherry Blossom Season" (oil on linen; 11" x 14")

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The sun sets over the Washington Monument and cherry blossoms at the Tidal Basin in Washington, DC. It is a breathtaking view. I used the pointillist technique for the cityscape, pretending that my dots are stardust. Aren't we all made of stardust after all?

"Tower Bridge Sunset" (oil on stretched canvas; 11" x 14") sold

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The Tower Bridge, one of the iconic images of London and the United Kingdom, looks even more glorious against the sunset sky.

"Washington Monument Sunset" (oil on linen; 11" x 14") sold

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On a very lucky day, one can see the sky like this at the Tidal Basin during the National Cherry Blossom Festival.  The Washington Monument stands tall and beautiful against the equally beautiful sunset sky!

"Bodie Island Lighthouse, Outer Banks" (oil on linen; 12" x 12") sold

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Perhaps the best time to be on the Outer Banks, NC is winter when sunbathers are all gone.  Visit the Bodie Island Lighthouse at dusk.  The luminous peace soaks one's psyche.

"Eiffel Tower Sky" (oil on linen; 14" x 11") sold

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Now I have recovered from my back trouble and finished the commissions, I am back to my daily routine of painting whatever I wish to paint.  I start with Paris!  Wouldn't you rather be in Paris, the world's most beautiful city, where even the sky is this exquisite?  The Eiffel Tower is just an icing!

I took some step-by-step pictures for you.  There is no doubt that my style is impressionistic!

I covered the white linen with a transparent underpainting.  The minimal drawing became mostly erased, which is okay.

The fun begins.  I began to lay down opaque paints over the underpainting.

Time to reintroduce some drawing.

The painting is about half way through.  Now I have to make it sing some chant-songs!

About this point, I realized that the painting was really about the harmony of three colors--orange, green, and violet.  With that, I became more purposeful in my choice of colors.

It's almost there. 

"Sail into the Sunset" (oil on linen; 12" x 12") sold

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Sail into the sunset with me.  It is Kauai.  The weather is balmy.  Silence and beauty surround us.

"Jefferson Memorial Sunset" (oil on stretched canvas; 8" x 10") sold

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During the Martin Luther King Day weekend, my daughter, an accomplished flutist, took a flute workshop in Washington, DC.  On the way home, we were on a road right next to the Tidal Basin.  I looked out the car window and saw the above scene.  It was not a spectacular sunset. It was a mellow, exquisite sunset that we were glad to see on a cold winter day. 

"Winter Sunset" (oil on linen; 10" x 12") sold

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Sometimes I don't have to go far to find something to paint.  All I have to do is to step outside and look up.  One winter day, there was a light snowfall, then freezing rain.  It was altogether a dangerous driving condition in my hilly neighborhood.  I went outside to put the trash can to the curb for the following day's garbage removal.  That's when I saw the above scene.  I had to take a picture.  When I came back out with my camera, a car went by slowly.  Frozen snow reflected the sunset sky. There was a hush all around.

"Spring Sky" (oil, 24" x 30")

I have painted my neighborhood before, as you can in the above painting.  You can recognize the same tall tree, same houses, and same curvy street.  I love my neighborhood and this is how I watch it, not with a gun, but with a camera and paint brushes!

If you send me your pictures to kimstenbergart@gmail.com, I may make paintings out of them.  How fun is that!  At the end of September, I will do a drawing and one lucky person wins a free painting.  You can buy the painting anytime, but there is no obligation.  Thanks!

Today is Day Fourteen of Leslie Saeta's 30 in 30 Challenge.  Thirteen paintings done.  I may take tomorrow off.  Have a great weekend!

"Lincoln Memorial Sunset" (oil on linen; 9" x 12") sold

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I've noticed that some artists who are participating in Leslie Saeta's 30 in 30 Challenge actually have a theme for the month.  They are very wise and I admire them.  I, for one, have no such luxury.  Some days I wake up in the middle of night wondering what I am going to painting the next day!  That's is why I decided to paint my favorite scene one more time.

We Washingtonians don't go out of way to pay respect to these famous memorials but for the out-of-town relatives.  More than 10 years ago, before the digital age, a cousin of mine from Korea came to visit and we took her to The Mall.  It was a beautiful spring day.  As the sun started setting, the marble structure began to glow against the golden sky.  Green leaves burned orange.  It was a magical moment.  So pardon me for repeating myself and please tell me that the new painting is better than the old one!

"Lincoln Memorial at Sunset" (oil, 11" x 14"; sold)

"Sunset over Marshland" (oil on linen; 14" x 11") sold

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I can paint sunrises and sunsets forever as long as the sun rises and sets.  I have painted sunrises and sunsets over the sea,  lake, beach, harbor, fields, hills, and even my neighborhood, but I like this new painting over marshland the best.

There is a fellow artist, William Van Doren, who has been painting sunrises and sunsets everyday for the past seven years.  Four years ago, he took on the challenge--a series of paintings of the sky over the Lincoln Memorial.  He was inspired by his experience on the extremely cold inauguration day of President Obama.  He told me that he did it for six months to get it right!  I was awed by his dedication.  Can you imagine yourself doing something like that?

"Poppy Field" (oil on linen; 16" x 12") sold



After
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"Poppy Field" before revision

"Evening Island" (oil, 14" x 11")
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I have a tendency of quitting a painting too soon.  It's not because I am lazy.  It's because of the fear factor--if I continue working on this pretty darn good painting, I am going to ruin it!  Last week, in his first class of the winter term, John Murray told the students to be brave: "No one is going to die here.  We are not performing a brain surgery.  So go ahead, use big brushes and lots of paint, and knock yourself out."  Or something like that.

We got a good laugh at his encouraging comments, but they got me thinking.  I have a few paintings that are supposedly finished and framed.  Whenever I look at them, however, I am bothered.  Yesterday I decided to do something about this nagging sensation and unframed a couple of the guilty paintings.  There was nothing to lose, you see?  Just as when a painting is a knock-out, it is a knock-out; when a painting doesn't work, it doesn't work.  No judges will like them; nobody will buy them either.

"Poppy Field" was too wispy.  It looked good only when I turned on a lamp next to it.  So I turned up the chroma (color intensity) of the poppies and greens in the foreground.  For "Evening Island," I increased the value scale.  The sky along the horizon was lightened and the grassy foreground was deepened.  I also added texture with a rough bristle brush, dipping it into pure paints and mixing colors directly on the painting.

I am happy to report that no one died in the process and I just rescued two paintings from the ignominy of mediocrity.  Not a bad reward for courage!

"Winter Sunset at Sea" (oil on linen; 8" x 12") sold

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Thank you for taking time to read my blog in 2011. I will be back with more (and, hopefully, better) paintings and stories next year!

HAPPY NEW YEAR!

"Kids at Sunset Beach" (oil on linen; 11" x 14") sold

"Kids at Sunset Beach"
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"Moonrise" (oil, 8" x 10")
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"Central Park Reflections" (oil, 12" x 9")
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I am fascinated by water's ability for reflecting things above and around it.  Especially when there is no strong breeze, water acts as a lovely mirror.  At sunrise and sunset, when the sky takes on those ineffable hues of pale yellows, oranges, pinks, mauves, subtle blues and violets, water becomes the enchanting bridesmaid who accompanies the beautiful bride--the sky.  Throw in some magnificent clouds to the mix, we are in heaven on earth!

"Silent Night" (oil on linen; 10" x 12") sold

"Silent Night"
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"Snow Valley" (oil; 10" x 15")
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Snowscape is another favorite subject of mine.  So much so that, I am in danger of running out of my reference material for snow paintings, as I live in an area that doesn't get much snow.  Of the two latest snowscapes, I like "Silent Night" better.  Snow is inherently a cold matter.  Unless much care is taken, a snow painting will be too cold to look at.  I thought that the warm-toned clouds in "Snow Valley" will balance out the cool colors in the rest of the painting.  But, over all, it feels too icy for comfort.

So I am going back to painting snow scenes in early morning or late afternoon light.  Sunset is even better.  Snow reflects everything around it and, of course, the ambient light. The brilliant colors in the sunset sky seem to bring out the best in snow.  If only it would snow!

"Sunset Clouds" (oil on linen; 9" x 12") sold

"Sunset Clouds"
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"Lighthouse at Sunset" (oil; 9" x 12")
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It is a great idea to work in a series.  To get to the bottom of things, so to speak.  Sunset sky is one of my such on-going series.  I am perhaps inspired by my mentor, Sara Linda Poly.  She is my first oil painting teacher, whose luminous skyscapes never fail to take my breath away.  As a veteran plein air painter, she paints on location these "golden moments," which don't last very long.  Half an hour, tops, if you are lucky. 

Sara draws the landscape parts--trees and so on--on a toned ground first and waits for the sunset to work its glorious, spectacular magic.  It is, of course, hard to paint looking at the sun in rapidly fading light, and I don't know how she does it so well.  As a newbie to plein air painting, I prefer to paint these sunset scenes in my studio.  "Sunset Clouds" and "Lighthouse at Sunset" are my two latest attempts at sunset sky.  I am pleased with them, for now.

"Central Park Reflections" (oil on linen; 12" x 9") sold

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Original reference photo

Hue/Saturation adjusted photo

Last Monday I took an interesting workshop with Bobbi Pratte at the Art League School in Alexandria, VA.  It was about how to use Photoshop to improve paintings.  I use Photoshop to crop, rotate, lighten/darken the photographic images.  The basic stuff.  I am not a techie; I dread the whole esoteric, mysterious universe of technology.  So it was with some reservation that I signed up for the workshop, mainly because a good friend of mine talked me into it and some other good friends were taking it.  Why not?

I must say that I did see some interesting "tricks" one could do with Photoshop Elements.  My head spinned at the end of the three-hour workshop.  Bobbi covered such an impressive amount of information in one afternoon that, in the evening, when I picked up my long-abandoned copy of Photoshop Elements 8 for Dummies, I could almost understand what the 600-page-long book was explaining--selections, tools, layers, opacity, etc., etc. 

OK, let's talk about "Central Park Reflections."  The original reference photo was taken on an overcast spring day a couple of years ago during a mini family vacation to New York City.  I loved the way the Manhattan skyline was reflected in the pond water at Central Park.  But I decided to change the time of the day to dusk to make the painting "romantic." 

On the morning of the workshop, I tried to paint with the original printout, which was green all over with a colorless sky.  It was hard.  During the workshop, it occurred to me that I should adjust hue/saturation of the photo, so that it would be easier to visualize the mood I was going after.  I did just that this morning and reworked the painting with the adjusted printout.  It was much easier as I hoped. 

I had known how to adjust Hue/Saturation all along, but have never manipulated a reference photo to suit my particular project, only relying on my power of visual imagination.  I honestly don't know which way is better for an artist.  But I suspect that I will be using Photoshop more often to make my life easier.

"Winter Trees" (oil on linen; 9" x 12") sold

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Out of the whim, I kind of made up "Winter Trees" to fit my mood on September 11th.  As I listened to the somber classical music on the radio all day long, I imagined a snowy field bathed in the yellow orange and mauve light of the dusk.  How about adding a row of bare winter trees, just silhouettes against the delicate colors of the sky?  Throw in the moon rising along the horizon.  The end of the day, the end of the season.  A moody, wintry painting.

"Golden Light" (oil on linen; 12" x 16") sold

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Reference photo

I took the photo above three years ago at Glass Beach in northern California and have been wanting to paint from it for some time.  I liked the sunset sky and its golden colors reflected in the ocean water.  But I was put off by the dark lumps of the rocks.  That is what a camera does when it takes a brilliant backlit view.

When I showed the picture to Bobbi Pratte in her class on Monday, she advised me that I paint the water first, then add the rocks as dark shapes, and finally sculpt them with lighter colors to make them three-dimensional and rimlit.  Brilliant!  She also told me not to get fussy with the waves and ripples.  There is no way that I can copy these hundreds of ripples; just make them believable and DON'T go back after I put down brushstrokes that go in the same directions as ripples.

I did exactly as she suggested.  The painting went fast.  As it was almost done, I finished it later at night at home to take advantage of wet paints.  I simply love the golden light that seems to glow from within.  Thanks, Bobbi!

"Winter Walk" (acrylic on illustration board, 20" x 30") sold

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Nature is not famous for moderation, and has hit the Northeast with another huge snowstorm.  This time, Washington, DC got caught in her furor as well.  Hundreds of thousands of homes are without power; some drivers got stranded on George Washington Parkway for up to 13 hours!  Oh, well.  At least children are home having fun playing in the snow.  

The sun is out. I am going to take a walk in the neighborhood park and take some pictures.  The park has provided many inspirations for my artwork over the years, and maybe I will get lucky today.  The painting won the Second Place in the Potomac Valley Watercolorists show in 2004, and was juried into the Art League show in Alexandria, VA in 2006.