This is a fast study of a little old man I saw asleep on a park bench. I did a quick sketch on paper which was not more than a gesture drawing, and tried to do the painting mostly by memory sometimes time constraints can force you into making a more honest direct statement. I love doing charcoal gesture drawings and this is really not much more than that…
This is just an example of a plein air painting I did this past summer. The sky just stopped me in my tracks. So I pulled over set up and painted this piece while driving through Mississippi. I absolutely love plein air painting and every chance I get I try to do so.
This is a painting of a moon I saw this past October. It was one of the largest moons I had ever seen and a full moon to boot! It was still light enough to see the colors in the trees and field it was over. I love painting outdoors this time of year. It’s perfect outdoors here in Meridian, Mississippi because it’s not too cool and not too warm. When we do a painting we try to create a believable illusion, however nature has one set of rules and paint has another.
This is a pic of my latest painting. It’s a low horizon piece at about 6 o’clock. The sun was down and causing an orange glow in the sky. Sometimes these soft light pieces are very calming and easy to look at. It’s all done in broken color in a very impressionistic style. I hope you like.
This is a fly fisherman painting done while in park city utah. It’s on the Weber River. It was late afternoon and the sun was flowing across the valley. I love these small studies of the effect of light on a scene. Fly fishing is one of those activities that just brings so much pleasure. It’s an activity that takes place in the beautiful outdoors and really what is there not to like about it! This is 11×14 inches on panel done in oils. I hope you like it.
This is a sample of a little boys portrait. It is done in a tight photographic style. and even though I paint the head and hands in this style, I still try to keep the rest of the painting loose and flowing. A painting must have a certain rhythm to be pleasing to the eye. Rhythm come naturally to the painter. However one must be aware of it while executing the painting. Sometimes it has to do with brushstrokes, and other times it might be done with composition or light. But, with whatever it takes it will always be an easier painting to look at if it contains it.
My dad was the greatest influence of my painting career. He took the time to start me painting at the age of 5, and was the one that encouraged me to become an artist. His paintings followed a strong New England tradition of style, as did Emile Gruppe’, Edward Harrington and Marshall Joyce as well as many other great New England painters. The key to this as well as many of his other works is a strong control of the viewers eye. A very simple composition is important as well and a way of leading the viewer into the painting while creating an emotional response. He would tell me one must edit at all times to create a strong point of view and he would say “what you leave out is just as important if not more than what you put in”. This was a lesson it try to keep in mind every time i approach the canvas.
This is a large studio piece I did from a smaller painting done on location one summer night this past summer. There was this typical red clay road leading through the field towards the sunset. Earlier that day was the tail end of a summer storm so the cloud formation was just absolutely beautiful. At just the right moment I tried to capture the suns light reflecting under the storm clouds. I love this effect. This piece was 48×60 inches. The on location piece was a 16×20 size piece.