No. 212 is a sort of throw-back to No. 27 from 2010. It’s not really a copy of that painting but was painted it from the same spot so it feels the similar. It’s insane to look at the two side-by-side to see the differences between now and then. I don’t think I could have possibly painted something like 212 back then. A big difference with the two is that 212 was painted plein air at the park whereas I worked on No. 27 for days.
This one goes back to No. 94 from 2010. I had picked it up again in 2011 and tried to do a 40″ x 30″ of the same basic composition but never finished the painting. I could not figure out what it was missing so I ended up painting it a number of times at the 8″ x 6″ size to try and understand it better. This one is really more of a value study but it felt like it clicked.
No 210 is a view of Lookout Mountain in Chattanooga, TN. It was done in the parking lot of the old Southern Saddlery building off Broad Street early one morning. It’s so strange how the mountain changes color all throughout the day and in the early morning light it’s such a nice blue-green color.
No. 209 is a scene from the backyard. Our house has probably six or seven really pretty hydrangea bushes in the backyard and the way the light hit this one was really nice one afternoon. I did the underpainting using Burnt Sienna en plein air and added the colors after it had dried.
I wanted to try the potted ivy again but this time do it with a whole different color family. This one started using a panel that had been toned with burnt sienna and that definitely helped set the mood. The problem with that was that the density of the underpainting made it almost impossible to add a “sunlight” feel to the painting. That and the yellows acted funky on the darker base. It was a nice try but not what I was really after.
This one is a new interpretation of No. 186 and No. 168 from 2011. I was so completely out of gas with the ones from Florida by the time I did that 186 that I wanted to go back and see what was really there. It was interesting to revisit that same composition after having some distance to process everything and boil down my technique a little more.
This is based on No. 169 from 2011. I had painted that one in Seaside while we were there and always really liked the feel of it. After doing a few of the Egan’s Creek ones I realized I could go back to any of the ones I’ve done to revisit them and try to learn more.
I can still remember walking around the corner and seeing this guy in the light. The back corner of Seaside is really quiet and it was just me and the gazebo that morning. Fun to go back and revisit it.
No. 205 is the last of the Egan’s Creek ones for a while. When I put the underpainting down on 203, I also did the underpainting for this one. Instead of a light, loose version I opted for a darker version of the exact color that would be eventually visible. So, instead of just seeing the Burnt Sienna through the broken color you can see a darker version of what is there. I think it works really well on the sky and helped to keep the light and shadows defined.
One other thing to note is that I’ve started putting these back on Etsy. You should see an “Available” button beneath the painting which that will take you over to my Etsy store. Since I was last posting the’ve added “options” as well, so I am now offering the paintings framed or unframed.
This one was actually painted at the same time as 202, but all I put down at the time was a Burnt Sienna base. I had a hard time grasping the colors with 202 and decided to get the basics down and come back once it dried to experiment, indoors, with the color side of it. There are some things about this one that are better but at the same time I think 202 had a liveliness that is lacking in 204. It could be the composition too. The ivy in the pot gets a bit lost, but it felt good to look at this from another angle.