DOWN A COUNTRY LANE - 12"x9" Original Oil - Sold

 DOWN A COUNTRY LANE (Tesuque, New Mexico) - 9"x12" Original Oil on Linen Panel - Sold

RIVER'S EDGE - 8"x10" Original Oil - Sold

RIVER'S EDGE (Rio Grande at Pilar) - 8"x10" Original Oil on Canvas - Sold

ARROYO PEQUENO - 11"x14" Original Oil - Sold

 ARROYO PEQUENO (Tesuque, New Mexico) - 11"x14" Original Oil on Canvas - Sold

CLOSEOUT! STUDIO EDITION PRINT INVENTORY

Great News!  In anticipation of a new venue for my print images  from my fairly large body of work (in other words a diary of the last 48 years of my life in painting northern New Mexico) - I am offering the existing inventory of my Studio Edition Prints at very affordable closeout prices.  There are only one or two available for each image.   The major portion of this catalog is now posted to my Online Gallery/Store .  You are invited to visit and enjoy!  (Featured image - ALMOST HOME - Preview/Purchase)

TAOS EVENING LIGHT - New 16"x20" Original Oil - Sold

Studio No. 1215 - TAOS EVENING LIGHT - New 16"x20" Original Oil on Belgian Linen/Larson-Juhl Custom Frame.  Completed 5/15/15 - Sold Bernardsville, N.J.

TAOS EVENING LIGHT - 16"x20" Work in Progress (Glazes)

TAOS EVENING LIGHT - 16"x20 Original Oil - Work in Progress (Glazes) - The sky and the mountains are complete.  Sky:  Cobalt Blue, Paynes Grey, Cadmium Red, Permalba White, Naples Yellow Pale.  Mountains:  Cobalt Blue, Payne's Grey, Yellow Ochre, Permalba White.  Trees:  Dark Trees - Perelyne Maroon, Dioxazine Purple, Mars Black.  Lighter Trees:  Burnt Sienna, Brown Pink, Italian Pink, Cadmium Yellow.  Foreground:  Dark foundation for grasses:  Prussian Blue, Burnt Sienna, some Chrome Oxide Green Opaque.

TAOS EVENING LIGHT - 16"x20" Work in Progress (Overall Glaze)

TAOS EVENING LIGHT - 16"x20" Work in Progress - Overall Glazes.  This is a somewhat new step for me, especially for late afternoon or evening paintings.  I used my painting medium to thin Payne's Grey and Dioxazine Purple and glazed over my underpainting (make sure the underpainting is thoroughly dry).  As you can see the red and pink early evening tones come through!   

TAOS EVENING LIGHT - Work in Progress (Underpainting)

TAOS EVENING LIGHT - 16"x20" Original Oil on Belgian Linen - Work in Progress (Underpainting) - Color notes:  All colors are mixed with MG Underpainting White and Distilled Turpentine.  Sky:  Cadmium Red.  Trees:  Cadmium Yellow, Cadmium Red and Cadmium Orange.  Darker Trees:  Brush with yellow colors on it (dirty brush) and Dioxazine Purple.  Foreground:  Yellow Ochre, Burnt Sienna, Prussian Blue, Olive Green.

CORAZON SAGRADO - NEW 40"x30" Original Oil

Studio No. 1115 - CORAZON SAGRADO (Rio Chiquito, New Mexico) - New 40"x30" Original Oil.  Completed 5/4/15.  Preview/Purchase.

CORAZON SAGRADO - 40"x30" Work in Progress (Glazes)

Studio No. 1115 - CORAZON SAGRADO (Rio Chiquito, N.M.) - 40"x30" Work in Progress (Glazes) - Colors are thinned to transparency or semi-transparency with painting medium.  Color Notes:  Tree - Italian Pink, Brown Pink, Cadmium Red, some Chrome Oxide Green Opaque.  Sky:  Payne's Grey, Permalba White, Cobalt Blue.  Green Trees:  Prussian Blue, Burnt Sienna, Chrome Oxide Green Opaque, Yellow Ochre.  Foreground:  Burnt Sienna, some of the sky mixture, Yellow Ochre.

CORAZON SAGRADO - New 40"x30" Work in Progress (Underpainting)

CORAZON SAGRADO (Rio Chiquito, New Mexico) - New Work in Progress (Underpainting) 40"x30" Original Oil on Belgian Linen.  Color Notes:  All colors mixed with MG Underpainting White and Distilled Turpentine.  Sky:  Payne's Grey, Cobalt Blue  Tree:  Cadmium Yellow, Yellow Ochre, Cadmium Red and some Chrome Oxide Green Opaque.  Greenery:  Chrome Oxide Green Opaque, Prussian Blue and Burnt Sienna.  Stay Tuned for the next step:  The Glazes.  DC

WINTERLIGHT - Completed 22"x28" Original Oil - Sold

Studio No. 1015 - WINTERLIGHT (View from my kitchen window, Tesuque, N.M.)  New 22"x28" Original Oil on Belgian Linen.  Completed 4/20/15 - Sold

WINTERLIGHT - Work in Progress - the Middle Tones

WINTERLIGHT - Work in Progress  (Middle Tones) - 22"x28" Original Oil on Belgian Linen - If at any phase of the painting I begin to get excited, this is it - I see the end in sight, the possibilities.  This phase is the transition from the darks to the lights.  Am using more opaque paints and "scumble" them on top of the darks.  This painting has been painted in my head a hundred times - ever since I saw the evening light coming across the front yard.  Stay tuned!  DC

EXPERIMENT!

Something New!  Another phase of WINTERLIGHT painting - in order to modulate light and hopefully give it that "last moment before sunset feeling" have used a transparent Payne's Grey glaze thinned with fast drying painting medium.

WINTERLIGHT (Tesuque, N.M.) Work in Progress

Studio No. 1115 - WINTERLIGHT (From my kitchen Window, Tesuque, N.M.)  - New 22"x28" Original Oil on Belgian Linen - All colors mixed with MG Fast Drying Underpainting White and Distilled Turp.   Color Notes:  Sky: Paynes Grey, Cobalt Blue  Trees:  Yellow Ochre, Cadmium Red and Cadmium Yellow.  Light Areas on Snow:  Permalba White, Yellow Ochre Pale  Foreground:  Paynes Grey and Cobalt Blue  Tire tracks:  Perylene Maroon, Burnt Sienna, Dioxazine Purple.

PLACITAS - New 40"x30" Original Oil

 

PLACITAS (Placitas, New Mexico) - New 40"x30" Original Oil Painting on Belgian Linen.  Completed 4/13/15.  Preview/Purchase.

PLACITAS - 40"x30" Work in Progress (Underpainting)

Studio No. 1215 - PLACITAS - 40"x30" Work in Progress (Underpainting) - All color are mixed with MG Underpainting White and applied with distilled turpentne.  Sky:  Thalo Blue, Thalo Green, Dioxazine Purple.  Greens:  Chrome Oxide Green Opaque.  Chamisa:  Yellow Ochre, White, Cadmium Yellow, Mars Orange.

SANTUARIO - 60"x50" Work in Progress (Loose Sketch)

Studio No. 1115 - SANTUARIO (Rio Pueblo at Martinez Hacienda, Taos, N.M.) - 60"x50" Work in Progress - Okay, here we go!  This is a very loose sketch - working with distilled turpentine, Prussian Blue and Burnt Sienna.  A long way to go before I begin to lay in the underpainting - tighten sketch - have the source material right next to the canvas where I can look at it all day long - imagining the darks in my head - they are the strongest element of the composition. 

PROCESS - A GRID AS A GUIDE

3/16/15 - SANCTUARY -This is a 60"x50" Belgian Linen canvas.  Most often a painting is a long time in the making -- and most of it is painted in my head months, or  sometimes years, before it finds life on a canvas.  A few years ago my traveling buddies, Jerry Walter and Rick Finney, and I were at the Martinez Hacienda early one beautiful fall morning.  The Rio Pueblo was quiet - the scene was serene - another unforgettable moment.  It was preserved in a photograph and for all this time quietly bouncing around in my head, popping up when I least expected it.  Here is what I hope is the beginning of a really good painting (one never knows how things will turn out - hoping to be surprised!).  This is a 60"x50" canvas prepared with three coats of gesso toned with Payne's Grey.  I have blocked out the grid in ten inch squares so that I can put the sketch on with fairly accurate proportions.  Stay tuned! 

STUDIO WORK IN PROGRESS - Untitled 30"x24" Original Oil

STUDIO WORK IN PROGRESS (Sketch) - Untitled 30"x24" Original Oil on Linen.  Loose sketch applied to a toned ground with Prussian Blue, Burnt Sienna and Distilled Turpentine.  This is a little road in the Village of Tesuque late on a February afternoon.  Often I block in six or eight paintings at a time for a couple of very good reasons - this has been part of my process for as long as I can remember.  First of all these sketches are from field trips and stand out from the collected material as the most visually exciting.  I usually compose with my camera (taking many shots of the same subject at different angles) and in the end choose the strongest composition.  The way I paint the canvases are all in various stages of drying so there is a necessary rotation process.  It is possible this routine wouldn't work for a lot of artists, but somehow this process has kept me excited enough to keep painting for many years!