It’s a good idea — and fun! — to try something a little different every once in a while, in art as in the rest of life. I started my most recent painting with this photo:
It’s hard to say what possessed me to take the photo. It’s a completely unremarkable scene, as you can see. Perhaps there was something about the half-hidden quality of that small meadow. Maybe it was the angle of the hill. There seemed an almost magical quality to it. But how to express that? I tried, with the computer, making the image much more green:
Much more alive! But this still was not quite what I wanted. It lacked mystery. I tried for more of a blue-green distortion. Here it is:
This was more like it. Look at this compared to the first photo. It has a very different feel to it, something closer to what moved me to take the picture in the first place.
I started painting, and got the bones of the painting down, but continued to feel like there was something more I wanted to express. I was not sure what it was or how to do it. When that happens, I have to let the painting sit for a bit until I know the next step. Often, in this situation, the puzzle of the painting stays in the back of my mind, especially when I am going to sleep at night. So, one night, I suddenly imagined the plants and bushes in the foreground with more sinuous shapes. That was it! The next day, I started painting again. Here is the finished painting:
Look at the movement in the foreground plants and bushes! To carry through that feeling, I also made the tree leaves curly, though it’s hard to see in the photo. I held to the blue-green emphasis, although I put more yellow in the lively foliage to draw attention to it even more. I created more contrast in color and between light and dark, since the original scene is fairly uniform in both areas. The dark shadow under the far line of trees is even darker, making that hill shape more prominent, and the shadows in the near leaves emphasize and echo the movement of the shapes. I made the birches more prominent, since they are an important structural element in the painting.
I titled it “Green Fire.” Those foreground bushes look like flames, don’t they?