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

sold

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")
sold

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.

"Luscious Yellow Roses" (oil on linen; 7" x 7") sold

sold

I have painted these yellow roses before from a photo. Is that bad of me?  This time I tried to apply a year's worth of learning to the new painting.  The lighting was a cool, natural light.  So the highlights were painted cool; shadows, warm.  I also used more paints and colors.  Someday I will create a painting of roses so powerful that it will cause the viewer's heart to skip a beat.  In the meanwhile, this will do.

"Yellow and Peach Roses" (oil, 8" x 10")
sold

"Brilliant Lotus" (oil on canvas; 24" x 18") sold

"Brilliant Lotus"
sold

"Lotus and Dragonfly" (oil, 12" x 9")
sold

Reference photo

The lotus is one of my favorite flowers and I never get tired of painting them.  Over the years I've painted them in watercolor, acrylic, and oil.  The sculptural flower with the Buddhist association looks great in all mediums.

Last year in early June, the plein-air-painting class with Sara Linda Poly went to the waterlily pond at Green Spring Gardens Park.  My first attempt at painting the lotus from life was a disaster.  The lighting condition, however, was ideal and I came home with several terrific pictures.  The following day, still smarting from the failure, I made another stab at the lotus.  "Lotus and Dragonfly" was the result of my persistence.  Since then, I've painted several more lotus paintings, small and large, and sold them all.

When a favorite client of mine asked me to do a larger version of "Lotus and Dragonfly," I wasn't sure whether it would work.  I tried as he "begged" for it.  And, boy, am I glad I listened!  My initial fear was that the lone lotus flower and yellow green undersides of several lily pads will dominate the painting.  As it turned out, there were enough details in the shadow areas to add depth and nuance to the bold composition. 

In the small version, there was no room for playing; most subtleties had to be sacrificed for the clarity.  Not so for "Brilliant Lotus."  You can look at it for a long time and still find hidden "secrets."  My client didn't want the dragonfly (there are actually three of them in the picture).  So they went, as his wish was my command.  I don't think they would have added much to the abstract beauty of the painting anyway.  It is fun to paint big, using large brushes.  It is also great to have a client with the sophisticated eye who appreciates and is willing to pay for original artwork.  Thank you!

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

"Fresh Snow"
sold

"Winter Morning" (oil, 9" x 12")
sold

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?

"Waterlily Dreams" (oil on stretched canvas; 24" x 18") sold

"Waterlily Dreams"
sold

"Where Dragonflies Play" (oil, 12" x 9")
sold

At the request of a client, I did a much larger version of the same painting.  When a painting is blown up, I often feel that something gets lost in the translation.  The charm and suggestiveness of a small painting become sacrificed in favor of details.  I was determined that it should not happen with this commission work.  I came up with the title first and stuck to it, keeping it "dreamy" and "soft-edged."  What do you think of the new painting?

"Purple Irises" (oil on linen; 12" x 9") sold

"Purple Irises"
sold

"Purple Glory" (watercolor, 20" x 14")
sold

I have painted these majestic purple irises from my garden many times, but never get tired of them.  Sadly they died out.  So, in a way, the paintings are a reminder of the ephemeral nature of life.  "Purple Glory" had received the Best in Show award in the Potomac Valley Watercolorists Green Spring Show in 2007 and got sold in a solo show at the NIH in Bethesda, MD.

I missed the painting, so decided to do another version, this time in oil.  They are quite different, aren't they?  The watercolor version is bigger and more "detailed" or "refined" than "Purple Irises."  I paint oils in the alla prima way--that is, finish the painting in one session.  This method requires a truly full concentration, as each stroke matters.  There is an urgency and immediacy that cannot be achieved in the more traditional indirect painting method. 

You may prefer the watercolor painting, but as my aesthetics have evolved, it now feels too detached.  I don't feel the presence of the artist who worked furiously to get the irises just right.  As a watercolorist, I think, I was reluctant to reveal myself and get in the way of the viewer's appreciation of the subject.  What do you think?