This is a studio painting put together from sketches, invention and memory. From this I painted a 40″ x 60″ version with some changes and additions. There is an extensive use of spectrum painting especially in the foreground surf. The foam under the curling wave is an example of counter change. As it moves toward the viewer and receives more skylight, it grades lighter in value, dark against a light and light against a dark.
The Intrepid is well known around Gloucester and is one of the last of the wooden hull fishing boats. They require more maintenance and are disappearing fast. I spent two days on this painting, longer than normal, because I wanted a high degree of accuracy. Carter’s is a working boatyard and I had to move my RV a few times due to the workers placing boats in my way. I met Capt. Ed Boynton, a fishing boat captain who paints, and he gave me many helpful pointers regarding boat design, rigging and equipment.
I think of this as a variation of Edgar Payne’s Steelyard composition which is a large interest balanced by a smaller interest farther from the center along a straight line. The two horses and the trees balance the large tree.
Rye was painted at the end of day, the light was fading fast and the mood was somber. This is an example of painting, “Nature as she comes”, and as rapidly as possible.
This is a painting about the sun striking the distant mountain. The rest of the entire painting was reduced in value contrasts, including the clouds, in order to enhance this effect. The light I was seeing when painting the sketch from which this studio painting was the result, was not the light I was painting. I have learned how to paint as if a desired light condition exists.
At about two hours into this painting, a large boat tied up next to the Westward and remained there. Fortunately I had taken a digital photograph which I transferred to my lap top for drawing reference. Two men appeared rowing a Dory and I photographed them.
There is a good deal of palette knife work in this painting, using mostly the edge of the knife. The flat of the knife is used for random paint applications. When using the edge of the knife, I get a sharp edge on one side of a form and then brush away from the sharp edge (White tree trunks).
A plein air painting in acrylics using a French easel. In this kind of painting, I’m after the general look while detail is approximately indicated. Mr.Reilly used to say, “You can always add more realism.” Mt. Etna is a volcano and at night we could see lava flowing from the mountain’s summit. It erupted shortly after we left.
The challenge here was to capture both the enormity of the panoramic view and the textures. For location painting, 30″ x 30″ is large and the scene demanded large. I wanted the center of interest to look rough in texture compared to the smoothness of the sea. The rock faces in the near distance were kept relatively simple so the eye would move to the focus, the middle distance rock face.
By the end of this painting, the entire scene was sunlit. The angle of morning light moves rapidly so the shadowed sections were the first to be brought to completion.
The center of interest is the figures on the left and the painting would be too heavily weighted in that direction were it not for the curious dog who has stopped to observe an artist at work.
A 2002 30 x 40 plein air painting done in my truck in one afternoon. I added the figures from memory and adjusted the perspective back in my studio. The way I’m painting now would probably require two or three return visits. This was in keeping with the way I was painting then, a looser approach with rapid execution.
In 2004 I painted this on location in Gloucester, MA. I added the man and the dog back in my studio from photographs but was not completely happy with the way they were painted. The man’s pants were too bright and there was something wrong with the dog. Two years later I changed the dog and reduced the brightness of the pants with a light wash of Red which I wiped until I had what I wanted. I also added the man’s reflection which I had somehow overlooked. This is an example of the way I was painting in 2006 and required a return to the location the next day unlike the preceding painting.
Mostly an invented painting. I used a small sketch, painted in daylight, as a starting point.