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High Noon at the Gravel Spit I

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High Noon at the Gravel Spit (8 x 10) $100

High Noon at the Gravel Spit (8 x 10) SOLD

Under the West Salem bridge there is a little sand bar, really a gravel bar. At any given time on the weekend there are likely to be three or four families there and at least one father teaching his son to skip stones. It is an ideal place for skipping stones into the river. It’s a good place for wadding toddlers too.

But looking down from the bridge a couple weeks ago I saw a very different scene. Five or six young men roamed the sandbar, jostling against one another and skipping stones from first one side than the other. There was no real violence, but the boys radiated suppressed anger and extreme restlessness.

Reference IIThis painting is a composite of figures from several of the photos I took of the restless young men. I arranged them to keep the feeling of tension I felt looking down at them from the bridge.

Reference I

The painting is almost entirely poured. The first pour was hansa yellow light, quinacridone deep red rose, and phthalo blue. In the next pour I substituted new gamboge for the hansa yellow and added quincaridone magenta. The third pour I used just the two reds and phthalo blue. For the fourth pour I used quincaridone magenta, dioxzine purple, and phthalo blue.

After the fourth pour I washed the boy’s jeans with phthalo blue and added dioxzine purple and phthalo blue wet into wet into the shadows on their shirts. The little dots are dioxzine purple splattered off the brush.

I think I captured the tension and the pours produced beautiful colors. I’m going to paint a larger more complex version of this painting tomorrow. I like the colors and will probably use them again.

This painting has sold, but I have run a limited edition of fifty giclee prints on archival rag paper.  Signed and numbered prints are $50.00 each.


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Sneakers II

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Paula and her sneakers again.

This time I panted her directly without pouring. I used a very limited palette: burnt sienna, cobalt blue and yellow ochre. I also washed her face with cadmium yellow and winsor red. There is tad of alizarin crimson on her lips and the shaded side of her face.

I prefer this painting but my husband prefers the poured version. I did a better job with her face here. But I agree with Stephen that the colors are livelier in the poured painting. It’s tempting to do a third version, but I think I”ll stop here.

Purchase a print of this painting at Fine Art America.com.

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The Red Shirt

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The Red Shirt (12 x 16) $100

The Red Shirt (12 x 16) SOLD

I’ve read that it’s advisable to place the horizon low when painting the sea to avoid making the waves look like a wall at the top of the painting. It’s a rule I violate frequently.

When I walk along the beach I am drawn to the leading edge of the ocean. Looking out from the edge of the waves the sea does feel like a wall above me. And the breakers rise many feet above sea level. In winter they they tower over the beach.

Standing in front of all that raw power I am awed that something so elemental is also so beautiful. My eyes follow the waves. I rarely scan the horizon.

I want to catch that feeling of being small and looking up into the waves, so when I place people right on the edge of the beach I often place the horizon high, or as in this case eliminate it altogether.

Pigment Notes: The water is phthalo blue, cobalt blue, French ultramarine, all dulled by burnt sienna and raw sienna. The beach is multiple washes, some salted, of burn sienna, raw sienna, and burnt umber mixed with a a hair of cobalt blue. Winsor red and cadmium yellow for the boy’s skin. Quinacridone gold, raw sienna and burnt umber for his hair. Winsor red and raw sienna for the shirt. French ultramarine and cobalt blue for his pants.

This painting has sold, but you my purchase a reproduction of it at Fine Art America.com.
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