Escolar Documentos
Profissional Documentos
Cultura Documentos
GloriaDawle
#9
9W
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ANMPl
IF,X\
BOSTON
PUBLIC
LIBRARY
HI
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PAINTING THE
COWS OFNATURE
--*
**w
&>'
My
whom
Pender, without
this
book
possible.
Goudy Old
point
in 11
Copyright
published 1987
First
Style
in
10036.
of nature.
Includes index.
1.
II.
Painting
Technique.
I.
Dawley, Gloria.
Title.
ND1500.D384 1987
87-23032
751.45
ISBN 0-8230-4761 -X
Distributed
House,
St.
All rights
used
in
in
the United
Ebbe's
reserved.
Ltd., Littlegate
St.,
No
may be reproduced
or
systems
Manufactured
First Printing,
in
1987
2 3 4 5 6 7 8 9
92 91 90 89 88 87
of the publisher.
This book
Terrie
is
dedicated to
Brown two
fans of my
art,
have worked
fellow artists
tirelessly to
awareness of my
country.
Nancy and
and
years
help create
name around
the
CONTENTS
Introduction
Traditional Style:
Values
10
12
14
16
20
21
22
a Higher Key
24
26
Colors
28
Using White as a
30
Vehiclefor Light
32
Handling Edges in a
Variety of Ways
34
36
Colors
Change
the
40
Mind Eye
Composing a Painting
in the
Together
's
Color
and Composition
in
46
Composition
48
an Improvised Landscape
50
42
44
38
54
56
60
62
66
70
Simplifying
a Cluttered Scene
Adjusting Details
to
72
76
80
86
88
90
92
94
Experimenting
to
Develop Color
100
102
104
106
110
and Color
1 12
Light
1 13
and Shadow
114
1 16
118
to
120
126
Palette Knife
Romance of Rain
Reflections
128
130
132
136
New Colors
138
Bringing in
140
Index
143
Introduction
Until August
1982,
was
hand, which
The
left
style.
from Parkinsons
my
whole
The
my
life
had no idea my
nificantly relieved.
An
sig-
unexpected
more than
could
was
at this
now had
to paint
especially
tight
She prodded me
into a
a style
After
came
to
because
it
in-
My
thetic.
first
handling
efforts
was perthis.
my
who
handles
my
work,
my new
them
were
lic
in a
all
the
new
patting
me
of struggling,
friends
for
many weeks
art dealer,
was perfect
me on,
my
the more
tried,
my
my wife
point that
fectly capable of
style, in
symptoms were
chosen
un-
Parkinson's
me
when
a half
career as a traditional
realist painter.
still
was
going to be acceptable
my
suffering
right
had been
my
painting hand.
realization that
able to paint in
Since 1975,
my
is
with
lost a large
style.
knew then
that
my
have a new
style that
could love
my confor me to
returned sufficiently
have a choice:
could return to
impressionism so
much
enjoyed
that there
my mind
was no question
in
would continue
in the impres-
sionistic style.
Not only
did
my
gone
technique go
my
my
matically. In
traditional works,
to a harbor in search of
an
background.
if
the
new
style
me.
new
to scenes. This
cult
than
entire
we
we would be looking
style,
life
it
sounds.
up to
this
diffi-
had spent my
elements within
with
it.
for
no
this also
sub-
dreds of photographs
had taken
for
ics
had
but unbelievably
My wife and
excit-
would
was
like seeing
an
my mind,
then
set
about
filling in
I
just
either the
whole or
we might have
now had
I
it.
reference photo-
new
ways.
felt
Let
me
still
what
this
inI
nique by blending a
little
here and
that
approach
still
to painting, a smattering
there. Its
if
have
tion, design,
are
a large part of
always
because
perspective,
Often
the way
as
process.
hours that
interesting-
many
ing
career that
scenes.
a very slow
my
had to
have
way
also. Instead of
years.
point looking
Now
to
many
for
eral
worked
tive.
in reverse.
process,
it
Of course,
is
Places
it.
ject matter
My conception of subject
thing that
specific
me
not some-
been doing
new
is
Imaginative painting
either case,
old,
Traditional Style:
This
is
an example of my
The
is
colors,
and
if
brown
I'd
use
little
painting.
parts
orange in the
wood paneling
10
of
Values
oil
on Masonite, 36"
If
were to repaint
this
scene
more
col-
handle the
differently, too.
and
it
looks very
much
like
ors,
Now
side
and
show.
letting the
The dog
instance,
x 48" (91.4
cm
is
brushmarks
Here
it is
I'd
wood.
might
x 121.9
cm)
The dog
is
His form
value
is
his
highlights
defined by changes in
dark
silhouette, the
and shadows on
his fur.
House
more
II,
on page 29,
is
used blue
Doll
painted in a
impressionistic style.
and purple
The
light.
and
Color,
11
good example
This
you can
with
is
tral
it
The
main
how
your cen-
start
work
of
men were
would be
tive of the
The
men
came from
photographs taken on the spot;
three figures
bring
had
my
them together
they
task was to
as a group.
The
is
is
central group,
with the
added the
rest of
the
was
still
background.
working
in the tradi-
lot
color.
something
would never do
in
my
central figure
basilica in the
tie
primary colors.
into a painting.
three
helping to
doesn't have to
ever:
mean
The background
rendered
loosely,
and
tight,
how-
figures are
their indef-
them
12
Coachmen at St.
Peter's, oil
13
This
from
done
is
colors are
The
paint-
Mended
smoothly, and
began with an
intricate drawing,
a large,
flat
Next,
added the
table.
Note
figures
and the
composition.
quite a bit,
compared
to the
light
dance
warmth
making the
The light and
color,
it
off
it.
tant to the
him
repositioned him
in order to integrate
had
the lighting
same, so
second
figure.
much
Since
of his
had
make
to
it
clothing so that
up.
would be more
it
appropriate.
After
table,
and the
painted the wheel. This was
I
Once
were established,
could turn
my
Some
made
kept the
14
oil
on Masonite,
cm
x 50.8 cm)
15
be more different.
is
One
explodes in a
brushstrokes.
riot of
I
colored
was looking
for a
left
came
first; it
was carefully
It
figures, flowers,
then the
main
sists
The
oil
on canvas, 24"
light value,
16
eye
is
led
as
x 36" (61.0
cm
x 91.4
cm)
for instance, to
seems natural,
The
light
pink bouquet
center of interest
is
in the
the central
which contains
lot
As
of in-
the eye
become
more sub-
more
down
of the flowers.
and
brushstroke. I eliminated some of
the figures and pushed the remain-
While the
distributed
subtle
and colors
on the
flowers
table with
is
basically
an
the foreground.
also
arrangement of figures.
The
impressionist style,
Flower Market
in
changed the
Rome,
oil
on canvas, 24"
of deeper space.
composition
x 36" (61.0
cm
is still
x 91.4
basic
position freed
X of the
there, but
all
changed the
When
fill
interesting
a bit.
on the
me up
to concentrate
it is
cm)
The composition
is
simplified by
the X.
The flowers,
and broken
is
no longer confined
more
and
light
to the center
of
evenly.
17
These flowers
is
Value changes
yellow,
from darker
to lighter
to bright
white
While they
still
18
and
violet
Touches of
add richness
to
This figure
and dark
is
carefully
tones.
dimensionality
little
The
is
modeled
in light
illusion of three-
is
variation in color.
mate
this
figure
and
his
surroundings
19
The
is
transitional painting:
have
tints
forms, but
and
I
color, rather
glazes, to describe
haven't
moved
some
still
fully into
The
carefully modeled,
some
and I'm
Color
make
stand out.
in
them
as
one
is,
fairly
the
man
bles,
The
sleeves
and hands of
scene together.
Most
fall in
one solid gray, but the effect produced by broken color is much
richer and more interesting.
have also begun to use color to
define form. The shadows on the
The
bins to the
still
using
black.
bles
vegetables in the
left
back-
Vegetable Market,
20
oil or.
purple,
cm
left, for
instance, are
x 61.0
cm)
The
is
the
Strong value
shifts are
no
sion of three-dimensionality.
illu-
This
is
traditional paintings.
The
The
seem
viewer
see
how
the bins of
but
it is
the
warmth
of the
oil
side by side.
The
blended.
The
sit
background.
really
and the woman's black coat surround and isolate the brilliant colors
and push them forward. Less intense, but still warm enough to stay
transitions,
smooth
colors,
The
doing
If
were
ally, I'd
highlight
blue
on the
top;
on the bottom,
maybe some
in the
shadow.
at-
is
whole picture.
As the eye moves farther into the
change
in the
become
cooler.
21
21);
is
closer to
has
it
less contrast.
tour
on the
right
less
When
difference
some
The
most noticeable
in the
interesting value
contains virtually no
is
so
in contrast so
shifts,
but
black.
impressionist
the group
color
ing, the
is
of the left-hand
man
on the white
use very
use a mixture
The dark
man
little
black in
my
blue and
overlaps the
is
it
of, say,
mau ve,
ultramarin e
also use
com-
is
darkness
made up
is
Not only
darkness.
lively
in
much more
my
palette
makes
for
Many
The
totally different
character to
more
this earlier,
it
rise to crisp,
tradi-
While the
pleasing
22
exciting color.
than
it
binations of ultramarinejalufe-afttl
shirt of the
is
tie
the black
multicolored
flat
is
this
black, but
more
it
picks
in the scene,
rest
oil
on Masonite,
cm
x 40.5
cm)
23
Colors Shift to
The
is
a Higher Key
traditional painting
practically a study in
it
on
its
con-
and strong
use in impres-
discrete
small
and
The Connoisseurs,
oil
on Masonite,
when
less
prominent, and
added
Of course,
changed the
space.
lies
colors. Here,
blue. Purples
more oppor-
color.
strokes of different
yellow
The
the
technique,
and
men
when
repainted
it.
increased the
cm
x 91.4
To add
a touch of contrast,
broken
floor.
left
This
cm)
24
*m
Traditional Palette
cadmium
red
medium
alizarin
crimson
sap green
Venetian red
vermilion
phthalo green
burnt sienna
cerulean blue
raw umber
yellow ochre
permanent mauve
ivory black
Naples yellow
titanium white
titanium white
raw sienna
yellow ochre
Connoisseurs' Choice,
oil
phthalo blue
ultramarine blue
cobalt violet
25
This painting
When
is
piece.
had a little
ing left in me, but
impressionist, so
ments of both
a transition
broken color
did
it,
still
traditional paintI
it
was more of an
contains ele-
styles
in a sense,
it
There
There
is
are
many
to the eye
it
this
registers as white
was
a bright red
still
gleams
26
Sparkling highlights
on the
in particular,
picture frames
entice
passages of
sculpture, although
those
previous paintings.
in this painting
many
and, as in
works,
at
it
many
of my traditional
glazing as well.
is
a little
Inside
Calvert Gallery,
oil
on canvas,
cm
x 35.6
cm)
27
In
ings,
with a
my
of
traditional paint-
it
is fairly dull,
brightest red
is
an earth
but
it is
would use
col-
girls'
in a skin
skin
little
is
blended only
the
is
cadmium
color.
red,
blue
red
28
I,
oil
on Masonite,
cm
x 50.8
cm)
to
it,
then maybe a
little
changed
when
this
many
yellow
colors.
scene somewhat
repainted
it.
felt
the
also,
fire
are picked
canvas
is
impressionist painting
dispersed.
hair.
One
is
more
of the advantages of
II,
oil
x 61.0
moved
field.
the
is
ing
on one strong
area.
cm)
29
handled
it
is
relatively
flat
and
The
higher-keyed, slightly
warmer
The
sky
is
is
not blended
at all
lie
Clam Diggers
30
I,
oil
on Masonite, 20"
colors and
is
it
x 30" (50.8
water.
cm
x 76.2
cm)
painting.
The
and
and
water, the
painting.
scheme of the
details
color
day.
light
of an overcast day.
of a cool, overcast
carefully
feeling.
The
figures
command
vas
This
is,
in
many
painting.
In keeping with the weather, the
When
a little
cadmium
reworked
this subject,
and pulled
cally.
The
more
intense.
much_
The predominant
col-
the painting.
is
The
overall impression
is
The
My
red.
palette has
changed dramati-
also used
mauve, ultramarine
permanent
violet,
cadmium
marine
violet.
EMBOB9
Clam Diggers
II,
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0
3K
cm)
31
Photograph A,
which
used for
it
dull.
rather
is
in
more
knew
made
the sky
much
lighter.
This
The
everything
I
fairly neutral.
else.
fit
in
is
little
on
with the
for-
violets, blues,
interesting colors.
I
decided to
up and bring
took
B.
T|e clump
of seaweed in
is
green of allkfrecause
it is
the brightest
so far
didn't
want
to use a
flat
gray for
on
this
on sunny
days.
needed
simply
made one
This painting
of
into a painting
is
up.
good example
amplify what
already there, as
is
or experiment with
find out
forward.
often occurs
used
the water.
Note
what works
new
colors to
best, as
did
32
.,*
*9
CLAMMERS,
oil
on Masonite,
cm
x 45.7
cm)
33
Handling Edges in a
Bermuda Carriages,
oil
Variety
of Ways
34
mm
The
ately obvious:
muda;
into whiteness, so
painting
a ship that
It is
Hamilton, Ber-
at
it
are
line to define
contour.
its
started
to define the
form.
where
background
that,
much more
flat, is
be. Because
it
background and
in the painting,
is
many
of the forms
There
is
variety in the
The
The dark
man's whip
it
lies
line of the
pleasing pattern.
This was
tree
my
successful im-
first
pressionist painting,
much
tinct.
The pink
areas
less dis-
on the
left side
of
palette
with
it
is still
my
riage
side,
which
trast
is
is
clearer.
umbrella on the
light value
painted
just
the right
retain
without disappearing
this
Note
wheel on the
painted
hand.
The
freer.
left,
The
car-
for instance,
a variety of colors;
have come a
edge.
its
is
On
and
left
coach-
consistent in
it
to define the
it
which
lies
under
and
35
this painting to
convey
The
light
mood
Evening
light
is
cool, bluish, so
the spectrum.
The
end of
buildings in this
The
for instance,
is
This yellow
is
on the
which is
building
yellow,
usually considered a
warm
left,
color.
however, because
The
warmer
warm
The windows
yellow.
handled very
is
loosely,
with a
are
lot
of
wanted.
or neutral.
light
it is
grayed down.
its
even
buildings.
Some
The
of that
warm
yellow
light falling
on the
trees
strong shadow
muted
on the
street.
have
The
in the rest of
little
warm
for contrast.
mmammmmammmm
I^B^P
36
fc]"fe
#
Street
in
Georgetown,
oil
on Masonite,
cm
x 40.6
cm)
37
Usually
once
strokes, but
a subject
comes along
"
in a while
that lends
This
to
wanted
\MgA
The
such
One
too much
is
modera-
looseness can
make
walls of the
wanted
to capture the
the water, so
little
waterfall
motion of
concentrated on the
falls.
nique
The
tech-
didn't go over
and the
bristle
marks.
Canal
38
in
Washington,
oil
39
The
is
flat
against
some modeling
in the trunk;
with loose
Because of my
this.
There
very
little
modeling
is
just a few
loosely brushed.
The
far trees
seem
used lighter
achieve this
effect.
in
make
Washington
able:
in front of
The
makes
it
hard to
tell.
40
is
The
trees
become
less distinct
as they recede into the background; the farthest ones dissolve into the sky.
and intense
colors
make
on
the canvas.
The
masses
41
to look like:
this painting
two cowboys
travers-
on horseback.
Unfortunately, only one rider came
by while I was at this site, and he
ing the river
much
my imagination and
didn't look
like a
cowboy.
used photo
but
the picture.
had to use
42
sum
of
its
is
parts.
The branch
changed
its
it
would
undue attention.
The
and
riders
figure.
made
in
style of the
it
easier for
largely
something of a challenge.
by the
used
just
and
hand
This
tilt
complements the
movement
uphill
that
man
in the photo;
it
worn
didn't
to
what
wanted.
used
it
more
for
D is very
of the horse.
perspective of photo
mostly
oil
is
on canvas, 24"
x 30" (61.0
cm
x 76.2
and anyway,
riders to
As
is
didn't
be identically dressed.
making
it
brought in a
much more
lot of
lively
and
it
add
cm)
43
The
on
when
tant step
number
want
all
is
a very impor-
light;
My next
had to be
it had
from the
it
on
all
the figures
The
style
is
fairly traditional,
background.
traditional manner,
a bit of blending
ticularly in
my
traditional
my
used raw"
a bluish cast,
brown.
warm~^
meticulously;
smooth brushstroke
easily.
44
that blended
Together
Purchasing a Horse,
oil
x 61.0
cm)
45
are
or
many
as
may
use
use,
them
together;
have to take
from photos
A and B,
is
crates.
man
placement, proportions,
color, all of
the
men
graphed.
had
46
to shoot at
just
The
from photo
he looked
when
I
like
didn't dare
remembered what
and sketched him
I
got back to
wanted
my
hotel.
made up
The
changing the
man
it is
there
ties this
I
changed the
light
on the
man and
man
how
figures,
the
and
is
and
in the
some adjustments
be hitting
same
all
also
made
so the light
would
direction.
men on
and the
The
together.
composition
vh'itfxv
~
Jo+v
Coconuts,
oil
x 61.0
cm)
47
St.
is
Thomas
together from
As you
several photographs.
no
most
me
clues that
for the
ideas
real
and
in-
teresting paintings.
Much
photo A;
coconuts
at their feet,
comes from
much
did
truck,
rendering of
its
details
to the scene.
It
would add
does serve a
indistinct shape
it
looks like a
The
back-
The
strong,
The
dominated by a
is
very
is
man on
the
left;
man
overlapped by
itself,
of this scene
a Composition
standing in front of
I
made
it.
in-
sail
on
mountain
in the
background. These
on the
crates
coconuts
ground
man
left,
the opened
at the feet of
figure,
and the
in the center.
4cV>*\r
48
^w i>*\
Charlotte Amalie,
oil
on canvas, 30"
x 40" (76.2
cm
x 101.6
cm)
49
50
oil
an Improvised Landscape
on
trip to Jamaica.
wanted
to cap-
land,
lone
and
woman on
would be
a tropical
perfect.
Once
several
little
setting
is
from photo A.
and
didn't quite
skirt
embody
the native
darkened her
shirt
so
also
skirt to a
deeper red so
corner of photo
removed the
light post
and the
natural.
also
is
and white
blouse. The box she was carrying
wearing a pink
pink of her
photographs.
The
beach
again,
is
the painting
left
and
changed the
The woman
is
sick.
needed something
however, so
the
much
in that
51
The predominant
is
coming through
the leaves.
touches nfpwrf
cadmium
(vcange here.^
shadow area
is
placed
ultramarine
in the
violet.
in the
mauve
to
52
is
wa ter. They
some
the horizon,
also used a
some
areas.
are
mixed
areas, particularly at
where
the sea
is
darkest.
littk_pnnanenLmauveJrL^
littia
cerulean blue.
"The bask
color
is
cadmhmLQiaxige--^
^joaijiedjvi^xMjQi-of-tixanium whizirto-*
raise the value
I
brushed
first,
and lower
strokes
jyellow,
the intensity.
it
sand area
with small
of idtramarmcvrolet, cadmium
and other
colors.
53
..
Placing Figures in
The
space
is
a Landscape
broader and
and
more pronounced feeling
of movement, largely because all the
in the previous one,
there
is
figures are in
location or
showed the
motion.
As you can
see, the
photographs
pleased, adjusting
it
a bit so
composite of all
54
four.
is
was trying to
The two
wanted
a
of a teenage
girl.
young
movement
changed some
was looking
hair; the
made up most
they are
older
all
girl's
girls'
clothing and
and the
blouse and bandanna are
girl's
dress
kept the
from photo A.
for definition.
girls are
child to the
left.
fig-
also
other
both
very similar
details of
overall design.
all
is
but
would
it
ure
The
The
older
girl's
dress
girl is
photograph;
changed them to
shadows accordingly.
sky,
C and D;
boat ap-
used both
and two
places.
I
The
wet,
movement.
darken
reference
strengthened the
-JAMAICA,
used a_raw
it.
sigrma. tint to
The waves
lapping the
blue, r a Hmjnm_0angp
v^Kenall
this
in,
oil
on Masonite, 24"
x 48" (61.0
cm
x 121.9
nothing to break
terest.
it
up or add
in-
The woman
in
j^
was painted
a large expanse
the middle
Co
it
Boats
yello
is
my main
Photo B was
is
and added to
cm)
55
One
of
my
is
sees.
^'irrr'"--
This
in
many
of
impressionist paintings
to
is
my goals
primarily a question of
center of the
field
periphery are
less distinct.
Monique's,
56
oil
on canvas, 24"
x 30" (61.0
cm
x 76.2
cm)
my
paintings
rendering objects
they
of vision appear
less distinctly as
or into
is
The
The
it
will be.
women
Because she
characters that
manner
photograph.
distant; the
paintings
is
the two
in the
all
The Eavesdropper,
oil
er
that
trunks seemed to
fit
in well
with the
in
The Eavesdrop-
x 91.4
on
who
their conversation.
is
interest,
she
is
is
darker and
less pretty
of the
first
cm)
57
Establishing
Idle
58
Chatter,
oil
x 144.8
cm
This
is
most interesting of the three paintings; this scene has more depth and
detail, brighter colors, and stronger
contrasts than the other two.
I reversed the positions of the two
women here because I wanted the
red hat to be closer to the center of
little better.
changed the
left-
to blue
and
The
59
The
were
fine,
didn't
come
because
it
a similar
women
The
color
made up
is
of
used
white, and a
such
The
little
Imi^cejijvith white.
rose
madder
Some
of the blue-
When
painted
had
all
in,
these elements
ochre with a
medium.
little
used yellow
cadmium red
amount of
varied the
-whe^e^thejjghfjeil.
The shadows
60
left,
adding
a little
The
/
I
phe
1
in sap green
My
ground
cadmium
trees
some short
strokes.
in the center
is
The
viridian
although viridian
.1
brought
My
so far
photo A;
was so overexposed,
photo
painting.
liked the
in
it is
together into a
I
pleasing composition.
positions of the
is
is
blue spruce
and white;
a bluish green,
well.
The
tree has
The
more
the
lights are
is
as
definition
darker.
phthalo green
a few touches of
oil
on canvas, 24"
x 30" (61.0
cm
x 76.2
cm)
61
My
did
some
here,
photo
two seated
would add
figures.
decided
felt this
scene.
I
in
photo A, so
other boy
on the rock
B.
The
C were pleasing,
latter
human
I
interest.
left
changed
it
to plain white;
brought the
adding
far
underbrush, azaleas,
trees,
from
sailboat to
this point,
show
I
felt
complete and
62
added slight
around the near
also
circular ripples
its
movement. At
set
it
aside.
63
The boy on
like what
seemed
too comThe painting
mercial
the
is
sionistic fantasy
evoked by color
64
problem:
it
When
darkened
his shirt,
undefined blob.
The
green;
grass
I
form of his
leaves
lot
on the
right.
darkened
also
Then
stood
at
torso.
added a
solved this by
much more
of color, defin-
needed a few
finishing touches now.
changed the
This scene
just
Finally,
ing tones
color to
set off
added
the water.
a little
more blue
to
Two
oil
on canvas, 30"
x 36" (76.2
cm
x 91.4
cm)
65
Whenever
Usually
to try to
make
it
work.
times even
that case,
ing
and
start afresh.
great deal
My
first
from
my
attempt
have learned a
mistakes.
at
66
The
painting this
coming
size
it
may
of the figures
finally
this painting
At any
start
arrangements.
how
In
this sketch, I
on
the
gave the
hat with a
man
middle a
in the
man on
the right.
Here,
moved
all the
and
the
left
to the
figures closer
man on
man
left,
glasses. I
gave the
a wide-brimmed hat
center figure.
removed
his cap,
from
the
moved
the
men
and removed
two men on
the
the
left.
67
Now
and
tried again.
sketches
basic
did in advance.
arrangement of the
used the
first
cadmium
red
I|
maximum
richness and
saturation.
I
as simply
little
men
isolated the
them;
this
confusion.
Fritz, Virgil,
and Max,
oil
on canvas,
cm
x 30. 5
cm)
68
cadmium
red
medium, yellow
ochre,
cadmium
red light
69
that
made
I
much
had
at left,
ment;
clothing to
I felt the painting was comand was very happy with it.
Then someone pointed out that
more.
plete
from the
girl's
head. This
an
is
the pole, so
painted over
more
composition
without
it
for-
for
to
a bit, so
throw
added
The moral
of this story
is
it.
that you
Carousel at Smithsonian,
oil
x 91.4
cm)
70
ET*I^
71
liked the
behind
in this
it
photograph, but
much
clutter.
did
how
pretty
much
as
it
was
in the photo,
water.
needed
to see
how
my
of detail.
so
72
eliminated
them
in the next
added a
painting because
to work.
it
just didn't
seem
on the dock
the water.
The
made
red.
it
eliminated
it
it
a little
more
here,
and
73
Lobster Dock,
74
oil
on Masonite,
cm
x 45.7
cm)
Thanks
is
grassy
is
soft
and color
undue
attention.
it
I
doesn't
rearranged
changed the
pilings by eliminating the ladder and
one climbing post, leaving only one
monize with them.
The
trees in the
background pre-
houses.
on the
water.
75
advance;
that
liked
and
out on canvas.
it
started sketching
As worked,
I
was
adjustments; this
method
can be very
The
is
a hit-or-miss
a drive
on
it
76
Now
more color
added three more geese
started bringing in
and detail. I
from the photograph. Since
fall
scene,
warm
used
is
background
trees in the
this
oranges,
green.
used a
this area.
lot of
broken color
As I began brushing
in
in the
realized
back.
The
is
original shape.
shadow
bands
is
in the lower
the
foreground
now
position
is
trees,
grass.
background and
back the
cut
through;
it
lets
and produces
77
too simple;
and yellow
used purple
with touches
in this area,
but
brown
for variety,
didn't
want the
tree to
overwhelm
the foreground.
used a
on the
covered over
much
of the
where the
is
a clear color
trees
end and
first
change
their
and
vaguer.
tal
obvious.
did keep a
in the water,
where
it
little light
less
blue
meets the
who stand
directly in front of
brightened
their colors to
it; I
even more.
in
Water,
oil
on canvas, 24"
x 30" (61.0
cm
x 76.2
cm)
78
79
just
my
poor, but
liked the
is
arrangement
began by sketching
on
in the subject
well
and once
didn't change;
it
was established,
all
my
it
subsequent
the
had eliminated
some distracting poles and street
signs, and I had decided to eliminate
ple in the scene.
all
80
cars as well.
someone who is
and therefore is more
critic, preferably
not an
artist
opinion.
Mine
is
major
city.
Accordingly,
bicyclist, the
corner,
At
is
in a
added the
women on
the near
this point,
felt
were called
for.
very loosely.
At
painted them in
this point,
wasn't
just
pleasing arrangement.
on the
its
statue, defining
adding color so
it
worked
shape and
also
more.
I
nent green
had used
81
still
wasn't happy, so
critic again.
called in the
We decided
that the
much
I
atten-
changed
simple gray
made
sidewalk to
of black
and white
added strokes o f
warm up
the gray.
also
82
wanted
make
to
sophisticated, so
were in order.
to the romantic
portray, so
mood was
replaced
coach
trying to
him with
added another
83
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0
cm)
84
The
tic,
decided,
scene.
much
it
attention,
less
distinct.
The man on
bothered
me
figures to
it
the
finished.
but
worth the
it
seems
just
it's
well
effort.
85
This
Colors are
no
The
overall
had with
this piece
did a few
liked the
tilt
of the umbrella
first
on
sketch, but
it
much
attracts too
I
replaced
it
it
and
attention to
itself.
with an upright
more gracefully.
would work well
with the other elements of the composition, did a more complete
umbrella that
To make
fits
in
sure this
sketch, so
this last
final painting.
JrJw*
86
oil
on canvas,
cm
x 50.8
cm)
87
graph, hut
with.
was
it
all
had
work
to
fall
wanted.
Then comhined
I
the infor-
my
how
light
shapes
wanted
The
it
to appear.
almost finished,
when
was
it
There were
too many of them and they were too
conspicuous
them were
since almost
all
of
and subduing
1^M| M
vn
if
ifi
them
bet-
wanted
it
**^
The
!
;i
ii
111
to
II
V
r
j[i
f/i'SJ
ill it
mti
*
around
it.
until
^mmmmm
88
int
Formal Gardens,
oil
(61.
cm
x 91.4
cm)
89
The
photograph
this painting
used for
colorful or exciting;
my
used
color
scene to
I
life.
spill
The
and yellow ochre; these colors not only work well together but
also harmonize with the permanent
mauve. The main colors in the
violet,
chromium ox-
and white.
the trees.
show through;
if
a heavy, overbearing
effect.
I
saved
figures,
White
The
The
is
it;
even
an important
component of impressionism.
*qi
Outixx)r Cafe
Cape May,
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0
cm)
90
*'
91
appear
and
yellow, blue
and orange.
is
In each
a primary
is
on the
palette, the
sometimes
If
modu-
pleasing indeed.
When
devised
is
my own
based on two
The
When purple
the result
is
sits
next to yellow,
it
gray.
yellow.
There are
interaction
seem
to float over a
The green
commands a great deal
green underpainting.
wine bottle
of attention because of
position;
it is
its
central
ground.
reen underpainting
92
color.
together,
Two Men
with Wine,
oil
on Masonite,
cm
x 40.6
cm)
93
We
on the
a violet jacket.
left:
Note
man
graph, the
There
is
tertiaries, that
is
These
it
fall
is
so
The
this
The
pair of
complementary colors
around which
structed
is
this painting
is
con-
red-purple area
lies
The
right in the
green
ery, in
is
make up
is
ground
at right
it
in because preparing
and
shar-
seemed to me to
symbolize camaraderie and pleasure
between friends, and also because I
ing food has always
complementary
pair.
color.
94
lies
Two Men
in
Woods,
oil
on canvas,
cm
x 40.6
cm)
95
The
composition of
this
problems:
the
girl in
girl in
them
decided to use
A and the
diffused colors.
on the
girl
and
In
left.
first
sketch,
tried
keeping
girl in
white.
Next,
tried
wanted.
an orange back-
seem
to
work
either, so
left a
girls to see
touch
how
complementary
pair: a
purple.
tried a
yellow dress
some touches
of turquoise, but
added
I
it
against a
96
used
it
in the final
97
Once had
I
worked
out, things
fell
into place
fairly easily.
down
dress so
overshadow the
98
toned
on the white
The
blue
it
wouldn't
girls sleeve
the other
is
girl's
needed to be
colors
dress.
livelier.
added bright
cadmium yellow
in the up-
mauve and
cobalt violet on the left, cadmium
red light, cadmium red medium, and
toned-down yellow ochre on the
right.
used
happy with
to
and
wasn't totally
this resolution.
to
the area.
the
Now
mood was
I
trying to capture.
Indian Girls
in Fall, oil
on canvas, 30"
x 36" (76.2
cm
x 91.4 cm)
99
This out
is
not a portrait;
set
to
didn't
do an exact
sistent anyway.
photo
used the
girl
rest
she seems
serene but was looking
graph
for a
hap-
pier
much
fact, this
determined
blond would
ter.
set off
that
100
hair.
The
tary pair
complemenmore explicitly,
yellow-purple
restated,
is
all
over
the folds
yellows,
barrettes in the
will see a
There
her eyes; in
closely at
corner.
The
never con-
liked
Look
is
photograph. Rather,
ment
is
the comple-
made
is
of her skin.
oil
101
The
predominant colors in
this painting are blue and
at
high intensities;
painted
photograph.
so
It
from a single
and
is
a very
background with
^ver the
and
laze of
a thin
a lot of
medium.
down
The brushwork
the colors.
in the water
loose, permitting
me
fairly
is
to describe in-
When
off
some
I
the glaze
the color a
right,
Then wiped
bit.
When
it
was
just
just
sit
I
went
The
sitting
on
to the
102
Hfc
Geese,
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0 cm)
103
The
predominant colors
in
on the primaries
and
schemes based
The mood
perhaps a
little sad.
is
adds to
The
is
The
cadmium
red
medium and
Reflections
104
on
the
is
and
very strong.
The
are not
horizontal brush-
composition.
The gondolas
clearer
The
white;
sky
a strong hori-
The
on the houses;
is
scene.
tranquil,
Nonetheless, there
water.
is
on the
color.
if
there were
H4*t+*- c*->
oil
on canvas,
cm
x 61.0
cm)
105
11
"A
too
many
color
my
is
no
color,"
one of
if
you use
Colors
primaries
often letting
little.
When
and blue
one dominate just a
red, yellow,
This creates
component
colors are
a fairly neutral
the
see here:
The
neutrals
pigments
colors.
Many
prefer
different color.
me
in these buildings,
and
applied in broken-color
little
experimented quite a
arrived at
my
final
bit before
went
through.
on
individual strokes,
106
oil
on Masonite, 20"
x 30" (50.8
cm
x 76.2
cm)
107
decided
didn't have
enough impact.
This time
tried
water, with
in at the
effect
better.
108
some orange
bottom
would be
this
to see
like.
lightly
brushed
what a sunset
Now
used a
lot
kept a
little
of a sunset;
contrast.
went
all
the orange
and
purple, with
is
and
picked up by the
and
used both
some
the previous
in the finished
painting.
109
Hues
that
lie
next to each
known
as adjacent colors.
tend
and the
work
it
in the
to
it
also
some
areas
and
viri-
One of the
pitfalls
color schemes
is
of adjacent-
monotony.
left
110
oil
on canvas, 24"
x 36" (61.0
cm
x 91.4
cm)
^*HipB
///
ofField
this painting,
used strong
to
As
The
112
dn the Green,
oil
become
less in-
pair in the
has
ing
colors are
ness.
Terrace
The
cm
x 91.4
lie
on
cm)
background
a purple
less
wanted
ant,
harmonious,
restful painting.
tried to
in the
added
a variety
is
fairly low, so
they are
A few spots
of vibrant color
red
sidewalk.
focus
down
narrowed the
to the buildings
Sidewalk Cafe
Washington,
and the
oil
sparkle
shirt
on Masonite,
crisp
cm
x 50.8
cm)
113
The
is
The
sub-
Cathedral
lends
in
Washington, DC,
itself to this
technique because
its
door-
the rose
looks
much
when
the light
colors
but
it
where
is
warm
color, the
warmth of
and because warm colors
advance toward the viewer,
in
From the
through
outside,
used the
The predominant
of place.
pouring
shadowed
areas. Value contrast is enhanced by
color contrast, since yellow and
violet are complementary colors.
is
it
Because yellow
and
inside
and
studied
some
light
window from
is
and blue
colors in
the com-
ponents of violet.
The
in
its
sunlight,
seem
to
The
cool violet,
on the other
viewer. This
sets the
mood
of
light
The
tree
the painting.
Warm yellow
area.
highlights
and cool
violet
shadows create
and
114
ibbL
National Cathedral,
oil
on Masonite,
cm
40.6 cm)
115
M
made
in
is
picture,
I
The
sunlight
is
most intense, of
concen-
and then
visible
The
where the
light
is
strongest of
is
tree,
all,
the
and
less
central to the
handled more
is
sunlight that
the trees
ried
subtle.
there.
farther back
is
subtly.
through
filters
weakened
a bit;
it is
car-
added to the
overall brightness
making the
hansom
cab.
elimi-
there
is
between the
right-hand side
116
and the
on the
of the canvas, which
light leaves
dark branches.
The
tree
highlights or
busy.
The
make
add
WM
oil
on Masonite, 30"
x 36" (76.2
cm
x 91.4 cm)
117
*+.
A Walk
in
the Park
Early Fall,
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0
cm)
118
Mfl*
The
trees really
dominate
this
canvas.
The
season to increase
The
red at
left is
purple; next to
my color choices.
so cool
it,
it's
and
When
changed the
fairly large,
almost
lay brushstrokes of
two
new
color; thus,
cadmium
The
deep
used the
when
want
method
is
did
When
paint the
full,
green
and summer,
in
The mood
has shifted
here.
foliage of spring
red
use
i?
119
The
pictures
ing trip
took on a
down
raft-
a river in
didn't
come up
effect
a little stronger.
is
The
more promi-
The
been heavy
ing through
muddy
much
The man
ings
eliminated
in the distance,
more
interesting.
tourists, as their
presence detracted
The sky
marine
orange.
120
is
it.
two
upper
left
There
corner.
are
two blues
in the sky:
is
reduced
murky
of
added tints
permanent mauve and cadmium
orange
the
clouds only.
latter color in
I
greens.
the
atmospheric appearance.
The
water,
is
shimmer of the
surface.
reflections
on
its
area because
it
also placed
in the sky.
The water
is
small
strokes
Rafting
in
Jamaica,
oil
on canvas, 30"
x 40" (76.2
cm
x 101.6 cm)
121
Rafting,
122
oil
The
painting are
The
"Nte
rafter
much
painted
came
from photo
that,
him
There
in the sky;
strokes
and purple
much
appears fairly
it
is
painted very
and
blues.
brought some
sky
it
The
let
the
trees at left, as
fairly clear
left, for
the
tree trunks
on the
in the water.
There
is
a greater
painting,
up
better.
places, especially
down
the center of
water.
123
This
is
ings,
and
and
it is
texture.
The
photo A, but
to really bring
setting
it
to
man
my
used
The
life.
he
B;
as in the other
came from
imagination
is
rafter
the same
two paintings,
clothed him in a
fit
in
in the distance.
The
sky
The
is
suffused
blue, orange,
up and echoed
trees.
in the previous
is
sky.
The
is
reflected
fm f ft
TT
Wash
124
Day,
oil
on canvas, 40"
x 56" (101.6
cm
x 142.2
cm)
-?""
At
125
on the
he
a very effective
way
The
colors
seep out
When am
to
oil will
faster.
colors
dab the
take a
V^jnium red
My
ors
on
first
light,
step
and
is
a piece of cardboard,
absorbs the
oil.
teresting designs
viridian.
which
and
easier to
work with.
it
manner shown
126
This
is
it's
this
this
stop.
important to
to stop.
Overworking
definitely a hit-or-miss
know when
and
in-
and combinations;
technique, and
when
it
happens,
muddy
just
wipe
effect;
it
off
start over.
made by
127
My
Sometimes
control
of the
spirit
motion of the
For the rocks and water,
ticularly the
alkyd paints.
than
began
right.
because
can build up
let
is
easier to
some of the
oil out;
a stiffer texture.
do
this
in
it
paint
water.
if
this gives
oil
it sit
is
this takes
of paint:
to
oil paint.
make
handle.
Another device
size
water.
some of
used to empha-
The
128
with
balance.
extra
Dunn's Falls,
oil
on canvas, 40"
x 50" (101.6
cm
x 127.0
cm)
129
photograph, but
those parts of
mood wanted:
it
only used
the carriages,
changed
phere would be
The
air
up and
scene.
is
clear
the
another.
The
to
directions of the
and
tal
vertical.
contrast, so
They
fin-
with
it
for a while,
decided
it
could
be improved.
w
130
oil
cm
x 61.0
cm)
on canvas,
larly in
the trees.
brought the
down
stretcher, cut
it.
painting
is
much
easier
if it is
on
wet pavement.
into the
trians
for a little
131
The
dominates
pretty
it
this painting,
much
and
dictated the
The
dows
and shapes
colors
in
in the win-
To capture
glass.
interior views
this,
first,
the reflections
painted the
then tinted in
actually overpaint-
ing, covering
there.
I'll
on pages 134-35.
I
A and B;
seemed
to detract
moved them
There was
in the photos
so
them
impression, so
together.
closer
a lot of contrast
too much,
felt
tree
the building at
on the
left to
left.
bring
added
scene, and
at
from photo C.
took
bits of the
painting
it
as
made
it
up,
132
some green-
right
Windows
Jpct'l
^H^B
Lincoln Center,
oil
on
'-*?a*
C"
HHM
cm
x 127.0
cm)
133
Reflections
All
wanted
mood
to
of the scene.
and
the
using ultramarine blue and yellow ochre, thinned with turpentine, in various mixtures to give
me a range
of values.
Now
movement of the
scene; I'm
cadmium
red
can get
the feel
and
134
still
white.
ochre,
Now
windows,
more
cadmium
red
the
window
at right are
permanent mauve.
shape of the
this
the
cadmium
The darks
same mixture
left,
white.
light,
in
used
window on
red
to define the
Before
same
colors
started
working on surface
reflections,
some
blues
this
pronounced
that
window
in the
is
window on
the
I
mixed
this effect
the right.
a group of yellow
I let
Then
Also
is
more
visible in
from a
it
the
crowd
until
wanted.
this area.
135
Turkish Embassy,
136
oil
on canvas,
cm
x 40.6
cm)
cause of
its
shape,
which
temptation,
when
is
a building
it
as
found
always a
the
is
that
letting
The
added
fill
painting
is
built
scheme of this
around a complemen-
it
the facade.
basic color
mixed white
The
avoided
red,
an
soft
them
just
out.
addition of a
little
with the
permanent mauve.
The
began by
simplified the
worked the
light
same
and foreground
mium
The
aware
there without
areas
is
is
is
painting.
VfK
137
The
overexposed; even
painting
is
so, there
wasn't
much
My
color
main prob-
ele-
if
method works
best
when
a light
color
unnatural.
My solution was
to use a lot of
low.
The
arches
The
is
dragged over
brushstroke
is
darker one.
usually visible; in
used a
lot
of red
and yellow
tor
them fairly
become the
focal point.
purples,
colors
is
so hright that
One
technique
this effect
is
it
jumps out
others.
used to achieve
red hat
continuity of color.
needed
tones, allowing
painting to
and
richness; the
138
The
The
a little green to
with a
purple
left
for
picture
round out
make
it
come
the
woman
alive, so
paint doesn't
The dragged
added
on the
color.
branches
at
the top.
*.****
St.
John's Cathedral,
oil
on canvas, 20"
x 24" (50.8
cm
x 61.0
cm)
139
The
carriage, dark
and
solid,
and dreamy
indeed, the building on the
right almost seems to be floating.
ings are ethereal
The
progressed,
and
drew
in the cathedral
with
the
and curves of the arches with
area
is
very
little
one.
The dragged
larly
paint
is
particu-
The
building
less solid
on
the right
is
much
is
contrast.
The
come
smooth
underpainting of the background
gray, then went over it with the light
and dark areas of windows and sunlit
barely there.
began with
lines
much
The
it's
blues, greens,
less
cathedral.
is
effect
is
The
street
is
in
The
140
tree
forms of the
St. Patrick's
Cathedral,
oil
on canvas, 40"
x 44" (101.6
cm
x 111.8 cm)
141
Index
Adjacent colors, 110-11
Alkyd paint, underpainting with, 128
Black
eliminating from palette, 22
use
of,
24
69
Buildings
brushstrokes for, 140
capturing essence of, 136-37
colors, 106, 114, 137, 138, 140
windows, 36,
114,
132-35
Depth of field,
29, 112
94-95
Complementary
112, 114
on
windows, 132-35
in
124
negative space, 35, 40
overcast,
30
reflected in water, 77
Hair, 100
and value
Trees
Light
fall foliage,
118-19
edges, 35
112
silhouette, 35,
40
Underpainting, 128
Values
Mood,
in,
56-59
low-key, 102-3
Composition
Reflections
Traditional style
44
Rain, 130-31
106
Figures
tertiary,
Sky
75, 96, 97
Primary colors,
100
114
low-key, 102-3
darks, 22-23
on composition, 88
grouping, 14
effect
Water
Oil paint,
stiffer
texture
for,
128
motion
Palette
126-27
of,
White,
Windows
colors, 36, 114, 134-35
143
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GENERAL L
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987
Sampe Lesson:
The
pt
d
tinting
dark
,\\k\
brighten
made
in the water
much
the sky
This directly
affects the
and
;oing to
ie
phot
the water.
the lower
left
corner
is
is
it
so far
violets, blues,
little
brown
adjust value
This painting
else.
a greater
C(X)1 colors
fairly neutral.
affc
of
how
vaner
is
is
a gcxxi
example
into a painting
colors
used
>ns
idea was to
forward.
in
the bright-
ideal area to
used
est
light
indirectly
almost everything
I
more
in
ground seemed an
to reduce
decided to
The
and
violet
rather
is
up and bring
intei
I
L;
fashion, using
for the
amplify what
already there, as
and values
to describe th<
trees,
4S
!l
!
what works
im.
ILL
or experiment with
Broadway,
New V
V.
10036
new
col-
best, as