Stream Study #4

Here's the last painting I did on the trip ...

"Stream Study IV"
Pastel
9x12












In all painting it's important to simply.  I found it particulary important and difficult simplifying paintings of streams with rapids because of the complex interrelationship between the objects.  The rocks shape the water, and the water (over time) shapes the rocks.  If one removes of relocates a rock all the surrounding objects are impacted.

My goal is to get comfortable enough with the subject to be able to arbitrarily move elements around in order to arrive at a more compelling composition. In each of these paintings I took successively more and more liberty is altering the scene - but this is much more complex than altering an ocean seascape scene given the complexity of the layers.  I sense there is a lifetime of work to pursue here :-)

Stream Study #3

Here's the next in the series ...

"Stream Study III"
Pastel
9x12

(sold)

Stream Study #2

Streams are fascinating in how there are 3 (or 4) distinct layers that are sometimes visible:

1. Stream bottom (underwater rocks)
   
2. Water surface
3. Reflections on water's surface
4. Bubbles/foam on top of water's surface

Here's the next study that I'll post ...

"Stream Study II"
Pastel"
9x12








This example shows a large underwater rock that I found interesting but few reflections other than reflections of skylight.

Stream Study #1

Recently I've been traveling and I decided to focus on painting a subject that I love but which is difficult to paint and hard to find where I live - streams and rapids.

Here's the first one I'll share, with more to come ...

"Stream Study I"
Pastel
9x12

Quest to paint whitewater

This week I've been heading out to find and paint whitewater.  Logistically I'm finding it much harder to get to the places where I really want to setup.  Lots of hiking and scrambling over wet or mossy rocks.

I'll post some images of the work as the week progresses ...

Santa Cruz Plein Air Festival

I just framed the two pieces I painted this week for the Santa Cruz Plein Air.  This week was tough because it was foggy and cold most days.  By the middle of the week I figure out it was best to drag my feet around the studio all morning and go out in the afternoon and evening.  After much hunting around and working my way up and down the coast I found two beautiful evening scenes.

"Leaning In"
Pastel, 9x12












"Evening Hour, Pleasure Point"
Pastel, 9x12










 Now I'm off to drive over to the coast to deliver the work.   It's been a busy week with over 500 miles logged on the car so far.

Impressionists Show at San Francisco De Young Museum

I visited the impressionist show at the De Young museum last month and was struck by a number of the paintings.  Although I've visited the Musée d'Orsay two or three times over the years, there were a number of striking pieces that I don't recall ever seeing.  It could be I didn't see this work (perhaps it was out of rotation), but I suspect it has more to do with circumstance.  Lighting conditions and gallery positioning can make or break how a painting is perceived and received.

I just found an image of a Monet (a painting of turkeys) that I found striking at the show.   This image doesn't do the painting any justice - this large piece just glowed with beautiful lighting.  This is just another example of how reproductions just don't cut it and why one needs to see work in person.

If you have a chance, go see the show before it's gone.  I think it runs through September.