HIGH ROAD PASTORAL -Orig. Oil - SOLD

"HIGH ROAD PASTORAL" - SOLD

14"x11" Original Oil on Cold-Pressed Italian Gessoboard
To be framed in Gold with Linen Liner
For price and availability, please call my Taos Studio at (505)758-7454.

HIGH ROAD PASTORAL - UNDERPAINTING

"HIGH ROAD PASTORAL" - Underpainting
14"x11" Orig. Oil on Cold Pressed Italian Gessoboard
To be framed in gold with linen liner.

"AFTERNOON SUN" - SOLD

Studio No. 4307 - "AFTERNOON SUN" - SOLD
14"x11" Original Oil on Cold-pressed Italian Gessoboard
To be framed in Gold with Linen Liner

For price and availability, please call my Taos Studio at (505)758-7454.

"AFTERNOON SUN" - UNDERPAINTING

Studio No. 4307 - "AFTERNOON SUN" (Underpainting)
14"x11" Original Oil on Cold-pressed Italian Gessoboard
To be framed in Gold with Linen Liner

Here is a quick oil sketch -- MG White mixed with basic oil colors - Cadmium Yellows, Thalo Blue, Prussian Blue and a little Mars Black in the dish at the base of the flowers.

DIAS DE ORO -- GLAZES II

WORK IN PROGRESS - LOS DIAS DE ORO
(GLAZES II) - 36"x48" Original Oil on Fine Belgian Linen

In my last post to this web log, I demonstrated the difference between the underpainting and the beginning of the glazing process -- laying in the dark, transparent colors. This week I covered the entire canvas with glazes -- even thinning opaque paints to a semi-transparent consistency.

The two autumn trees: I thinned Yellow Ochre, Cadmium Yellow and Cadmium Red and brushed those colors over the shape of the trees to "tone" the ground. Then I began laying in the darker colors (Alizarin Crimson, Diox. Purple, C. Ox. Green Opaque) to create volume and shadows. I used Prussian Blue, Burnt Sienna and Chrome Oxide Green Opaque in the pinon trees at the top of the painting. The pastureland in the foreground and middle ground is a combination of all these colors to varying degrees of light and dark. I will let these colors set up for a few days before working into them again, otherwise the turpentine in my painting medium will mix with the heavier, opaque paints and create "mud".

If you have any questions regarding this new painting, just give me a call at (505) 758-7454.

WORK IN PROGRESS - DIAS DE ORO (GLAZES)

WORK IN PROGRESS - DIAS DE ORO - THE GLAZES

Today I worked some glazes into the right side of the painting -- these transparent colors - Burnt sienna, alizarin crimson, and yellow ochre (thinned to a transparency with the painting medium) in the autumn trees. The pinons at the top of the canvas: Prussian Blue and Burnt Sienna for the darkest values, with some chrome Oxide Green Opaque in the lighter areas.

I am adding this post today to focus on the contrast between the glazes on the right and the underpainting on the left side of the painting -- these dark colors not only help to emphasize the light of the final opaque colors, but they add a richness to all the colors. If you really look at Renaissance paintings -- those dark colors are glazes -- observe how they make the lights appear lighter!

If you have any questions or comments regarding this painting, please call me at (505)758-7454.

WORK IN PROGRESS - "LOS DIAS DE ORO" (DAYS OF GOLD)

WORK IN PROGRESS - "LOS DIAS DE ORO"

36"X48" - Original Oil on Fine Belgian Linen
To be framed in Gold with Linen Liner

My colors in this underpainting are laid in loosely and mixed with MG Underpainting White and Turpentine using a variety of bristle brushes. Colors in the trees: Cadmium Yellow, Cadmium Orange, Cadmium Red, Yellow Ochre, Burnt Sienna, Chrome Oxide Green Opaque. Shadows: Combination of Prussian Blue, Burnt Sienna, Diox. Purple and Chrome Oxide Green Opaque. This underpainting will need to dry completely (about a week) before I can work into the colors again with the glazes (darks). In the meantime I will complete "POPPY LOVE" and "MORNING POEM".

If you have any questions, please e.mail or call my Taos Studio at (505) 758-7454.