"Winter Wonderland" (oil on stretched canvas; 24" x 30")

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I have been working on this painting for a few months.  It was initially a plain snowscape.  It was boring, so I decided to have fun by turning it into a zoological painting by adding the kinds of animals that are likely to appear in a suburban park.

After a light snowfall, the sun is out. So are the animals in the neighborhood. I see a white dog and her bouncy puppy, a red fox watching them, a stag and a young deer, a white rabbit and a brown one which must have spotted the fox, a robin and a great horned owl. I could have gone crazy by adding a coyote, more birds and dogs and deer, but my husband said there were already enough animals. Ha! 

"Winter Woods" (oil on linen; 12" x 12")

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Take a walk in the woods on a winter day.  There is a light cover of snow on the ground.  The late afternoon sun casts long, blue shadows over the snow and fallen trees.  Dry leaves still dangling on bare branches catch the sun and glow.  A magical moment to savor.

"Winter Shadows" (acrylic on canvas; 24" x 18")

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In case you are wondering why I haven't been blogging often lately, here is why.  I came down with shingles over the Christmas holidays.  Yes, shingles.  Yes, it really hurts!  So I have been taking it easy.  Yesterday I felt a little better and overdid things.  Boy, a big mistake.  There is no reason, however, why I should always talk about new paintings.  I have plenty of old paintings to share with my readers.  Today I am going to share one of my all-time favorite paintings.

In northern Virginia, where I live, we get very little snow in some winters.  2012-13 seems to be such a winter as well.  Anyhow, this particular winter was one of those disappointing ones.  So when we had a little snow overnight, I was eager to take a walk in the neighborhood park.  There I saw this scene of the mellow winter afternoon sun casting long shadows over the fallen logs.  You wouldn't believe from the painting, but on top of the hill were suburban homes, which I edited out.  The painting was juried into The Art League show in Alexandria, VA in 2007.

"Winter Shadows" hangs proudly in my living room.  I don't paint this big very often, which is a shame.  I could play with subtle changes in color temperature and soft/hard edges throughout the canvas, while maintaining the mood of a brilliant light pouring through and uplifting the viewer.  Do you feel like you are standing in the woods and looking up?

"Last Leaves" (oil on linen; 8" x 10") sold

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Last leaves cling on to the snow-coated branches of bare trees on a bright winter morning.  I have painted the same scene before.  I would like to think that the new painting has more impact with a dynamic composition, bravado brushstrokes, and loads of paint.  What do you say?

"Winter Creek" (oil, 8 x 10")
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"Country Snowman" (oil on linen; 8" x 10") sold

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A jolly snowman with a green hat and red scarf greets a frosty morning by the barn.  If this painting doesn't cheer you up, I don't know what will!  Would you be surprised if I tell you that I painted the scene from an old black-and-white photo?

"Twilight Snowfall" (oil on linen; 8" x 10")

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Snow falls gently in the country at twilight.  All is silent.  All is beautiful.

"Morning After Snowfall" (oil on linen; 8" x 10") sold

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I have painted the same scene twice before.  Yes, I like it that much.  It is a creek down the street where I live.  I took the reference photo many years ago before the age of digital cameras.  Because of the severe erosion caused by heavy rainfalls over the years, this stretch of Holmes Run doesn't look quite the same anymore.  As it hasn't snowed much last winter, I keep painting the same enchanting winter wonderland from my old print. 

I have been rereading Kevin Macpherson's Landscape Painting Inside and Out for the umpteenth time. I think I finally get it.  He talks about the light and shadow families and keeping them separate throughout the painting session.  He also emphasizes using MORE PAINT.  I tried my darned best to paint as if I meant it, with as fewest strokes as possible. 

"Fresh Snow" (oil, 8" x 10")
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You probably cannot tell much difference between the new painting and the old one ("Fresh Snow") other than the temperature difference (caused by the quirks of photography), but I assure you that I had a lot more fun with the new one and painted it faster.  Of course, painting fast is not the  goal, but the speed implies decisiveness and enthusiasm.  The way I painted "Morning after Snowfall" is the direction I am pursuing--bolder, fresher, and more lively.

"Fresh Snow" (oil on linen; 9" x 12") sold

"Fresh Snow"
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"Winter Morning" (oil, 9" x 12")
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As you know, I have painted quite a few snowscapes since last fall.  I am pretty much out of the snow reference material in this exceptionally mild, snowless winter.  Out of desperation, I dug out a photo I had used for "Winter Morning," and came up with a new painting, titled "Fresh Snow."  Cheeky!

I remember how pleased I was with the first version.  Now I look at it, I am not impressed at all.  Look at the reflections of the trees.  Don't you think they look anemic?  And what about the treatment of the distant woods?  Half-hearted, I say.  I admit that there is that ineffable softness in the old painting.  Nonetheless, I vote for the new one.  What do you think?

"Snowman and Barn" (oil on linen; 9" x 12") sold

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As I was painting "Snowman and Barn" on Monday, it started snowing!  There had been no forecast for snow, but it kept falling.  The first snow of this winter made all of us giddy with joy like the kids on the Christmas morning.  Alas, by yesterday, with the balmy spring-like temperature, there was no more white stuff to be seen. 

Another reason for my happiness was that I was painting a landscape, not a figure!  Boy, I was glad to be back to what I normally do--paint loose and suggestively.  No more uptight measuring and hours of staring a nude person to figure out the subtle color changes in the skin tone.  The moral of my experience last week is this: get out of your comfort zone once in a while; do something wild and get back to your life.  You will be wiser for the adventure.

The painting was based on a black and white photo.  The advantage of a challenge like this is that one gets to make up colors.  Ha!  it wasn't that hard to come up with lovely violets for distant woods; brownish wood colors for the barn; and the red scarf for the snowman.  I made the big tree on the right not clearly defined, although it was in the middle ground and a lot closer to the viewer than the barn, because I made the latter the secondary interest.  Of course, the snowman is the star.  I boldly put it in the middle of the picture.  Why not?  Relax and have fun.

"Central Park Snowed In" (oil on linen; 10" x 12") sold

"Central Park Snowed In"
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"Snow Trees" (oil, 8" x 12")
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"Snow Creek" (oil, 9" x 12")
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As you can see, I have a mini series going on here--snowscape with trees and creek/pond.  If I paint the same scene over and over again, I will die of boredom and atrophy.  But as I continue to explore the same theme with variations, I gain a deeper understanding of the theme.  In "Snow Creek," I learned how the smaller area of the sun-lit snow seems to glow next to the much larger one of the snow in shadow. 

In "Snow Trees," I grouped the sun-lit and shadowed areas and assigned them the two separate sections in the picture plane.  I played around by intensifying the blues of the creek, to contrast them with the warm colors of the trees.  But my main concern and fun was to figure out how to paint wet snow clinging to trees.

In the first painting of the new year, painted on the New Year's Day--"Central Park Snowed In--" I am back to the meandering stream and snow-coated trees.  I am also contrasting a small sun-lit area with the rest of the snow-covered pond at Central Park, which is in shadow.  I have become more ambitious, introducing the background, which is very different from the rest of the painting and works as the foil for it: the blurred skyline of Manhattan.  I was also trying to vary the tones in the foreground to indicate different states of moisture from snow to ice (darker) to water (darkest).

Painting these small "daily" paintings has been a great tool for self-education and growth for an amateur-turned professional artist, which is who I am.  Last year I retired from teaching history at a college, something I had been doing over twenty years, and began with much trepidation the adventure of a self-employed , starving artist.  One doesn't get younger.  It was now or never to do something I truly wanted.  Wish me luck!

"Snow Trees" (oil on linen; 8" x 12") sold

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I had a photograph which was so underexposed that it almost looked black and white.  But it had an intriguing design I wanted to explore--a line of snow-coated trees along a dark band of a creek flowing through snow fields.  I photoshoped it to lighten the darks.  It looked better; but it still had hardly any colors, which wasn't a disaster.  I could "make up" colors easily, you see.  Browns for the trees, dark blues for the creek, and various whites for the snow.  The painting isn't really about color.  It's about design.

The photo's picture plane was originally divided into two by the biggest tree, which I moved a little to the left.  Other trees were also moved a bit this way and that way, so that the painting has three groupings of trees: the papa group in the middle, the mama group on the right, and the lone tree (baby!) on the left.  The snow field across the creek is sunlit; the snow bank in the foreground is in the shadow.  So are all the trees.  I had a lot of fun painting wet snow clinging to the trees--trunks, branches, twigs, and all.  Oh, I wish it would snow!

"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!

"Winter Creek" (oil on linen; 8" x 10") sold

"Winter Creek"
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"Winter Morning" (oil, 9" x 12")
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Both paintings above are based on the pictures I took many winters ago down the street along Holmes Run in Alexandria, VA.  We don't usually get much snow in northern Virginia.  So whenever there is a bit of snowfall, it is a snow day and everybody is happy.  I am from a country (South Korea) that gets lots of snow every year.  I've got to see snow in winter; otherwise, I feel deprived.

And I love to paint snowscapes.  Although it gives local residents much pleasure, Holmes Run is a small creek, not a particularly scenic one at that.  But look at my paintings!  It's the snow that transformed an ordinary creek into a winter wonderland.  No omnipresent, oppressive greens as leaves had fallen.  White snow, which has hints of the sun's warmth, makes big bold shapes or sparkling, lacy tendrils.  The creek with wonderfully fuzzy reflections of bare trees on the opposite bank is a bonus, which provides a nice dark shape in the middle ground.  I hope we get some nice snow this winter, not just dustings.