Dusk Descends on Fallow Field(gouache & pastel on paper; 10"x8")
Autumn Marshes(acrylic & pastel on
Wallis sanded paper; 6"x8")
Two quick works, different mediums and surfaces, both trying to capture those illusive autumn moments when color and light seem to become one. When one works small, the work can be quick and decisive, allowing the colors and the medium to proceed without too much interference from the artist! Sometimes I can't seem to get out of my own way. But these were so fast and brief that there was no time to meddle; otherwise, the light would have been lost. And one more -- a small oil sketch on panel:
Wetlands at Sunset
(oil on panel; 5"x7")
Wetlands at Sunset(oil on panel; 5"x7")
I seem to have a penchant for marshes and wetlands. Between the coastlines and river wetlands in this area, who could not? I hope to get out more later this month, at least before the real cold settles in. I especially like the time after Halloween -- early November, after the leaves fall and one can see the skeletal shapes of the trees against the sky, when the light has pearled over into that dove gray and blended seamlessly with the reflective surface of the water. Ahhh.....! Those are the quiet landscapes that breathe solace and peace.
I have always been especially fond of Corot's use of gray; also, certain Whistler nocturnes and Turners convey those nuances of gray. Last year I was lucky enough to catch the art exhibit, Like Breath on Glass at the Clark Institute in Williamstown, MA. Another favorite, George Inness, was in that exhibit. I stood in front of his Home of the Heron several times that afternoon; one could sense the air going still as if in a chapel. If you ever have the chance to read James Elkins' Pictures & Tears, you'll see what I mean. Elkins' writes about the inexplicable reaction people have to particular works of art, such as Rothko's works in a chapel in Houston.
Well, the work week is wrapping up, and I have many plans for the weekend. I hope to be back next week. I think that's how my new "pace" is working out for now. Happy weekend -- :~)
I have always been especially fond of Corot's use of gray; also, certain Whistler nocturnes and Turners convey those nuances of gray. Last year I was lucky enough to catch the art exhibit, Like Breath on Glass at the Clark Institute in Williamstown, MA. Another favorite, George Inness, was in that exhibit. I stood in front of his Home of the Heron several times that afternoon; one could sense the air going still as if in a chapel. If you ever have the chance to read James Elkins' Pictures & Tears, you'll see what I mean. Elkins' writes about the inexplicable reaction people have to particular works of art, such as Rothko's works in a chapel in Houston.
Well, the work week is wrapping up, and I have many plans for the weekend. I hope to be back next week. I think that's how my new "pace" is working out for now. Happy weekend -- :~)
7 comments:
You use so many different mediums-- amazing to get similar effects.
You also mentioned going to the Clark in Williamstown-- do you live near there? My son graduated from Williams College in 2004 with honors in Fine Art. So I am familiar with Williamstown, and the museums around there.
Thanks for the compliment, Donna! Yes, Williamstown and WC are wonderfully New England -- I haven't been up since May, so I feel a road trip coming on soon!
Autumn Marshes was my favourite. I like the warm red colours but the slice of blue sky make it shine so brightly.
much appreciated -- thank you for stopping by!
Kelly, thank you so much for your lovely comments about my work. I'm completely taken by your Dusk Descends piece, in gouache and pastel. I look forward to following your blog--- and your work, which is very fine, indeed. Congratulations on both!
I've enjoyed browsing through your blog and love Dusk Descends on Fallow Fields.
Many thanks, Robin!
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