Evensong II • 40 x 30 inches • oil on 2" deep cradled Museum Series GessobordTM
My goal for this large painting:
To evoke in the viewer just one mega-zillionth of the the awe I felt
when standing out in the pasture surrounded by this:
I’m not sure, but I may be attempting the impossible here.
But I sure am having a ball giving it a go!
Side question: how come we have burnt umber and raw umber, but no cooked-to-perfection umber?
Anyway, back to our progress photos.
I don’t know if that makes sense or not, but it did in my head at the time. We’ll see if it works.
The palette I’ve chosen for this painting:
Old Holland neutral tint (I use this like Payne’s gray, but it’s not quite as bluish)
Dioxazine mauve (similar to diox purple)
Note: more blues and purples than I usually use in one painting, but I wanted all the subtle choices for this large composition.
Hooker’s green lake deep extra
Sheveningen yellow light (similar to cadmium yellow light but nontoxic)
Shev yellow deep (again, similar to cadmium yellow deep)
Rose dore madder lake antique extra (officially the longest name of any color in my box --
oh, and by the way: LOVE this rosy red!)
Alizarin crimson lake extra
Persian (Indian) red
Cooked-to-perfection umber? Ha! I just wanted to see if you were paying attention.
I love watching the trees take shape as I paint in the negative spaces between the branches.
Good night, painting, I’ll see you in the morning!