I recently took a class with Jerry Thomas called French Impressionist Blue Painting. The basic premise is that you use at least 2 or more pigment blues, and keep them isolated
from each other in different areas of your painting.
This particular scene is at Creve Coeur Lake in St Louis Missouri. My husband, sons, and I have spent lots of time sailing here during summers. I used cobalt blue for the sky, Prussian blue for the water, and ultramarine blue for the snow shadows. Blue is a space color, and there is a strong sense of space in this piece. I started with a panel toned in bright yellow, to offset all the blues and warm it up, so it wouldn’t look icy cold. I also used soft pinks, yellows, and violets in the grays of the trees and shrubs.
When I was walking past the lily pad ponds by the Linnaeus House in the Missouri Botanical Garden, I was mesmerized by the pattern of lily pad shadows and reflections on the water.
I painted this in acrylic based on a photo I took of the scene. I enlarged it on my ipad mini, and did a drawing first. Then I painted in the scene. It was colorful, but looked somewhat flat and disjointed. So, I put my Monet on and put lots of broken color in the shadows and the sky reflections. This made it much more vibrant, and unified the painting. Later, I darkened some of the shadow areas, and brightened the lighter areas to improve the value system. Finally, I realized it was hard to tell the reflections and shadows from the actual lily pads and flower, so I put a glaze over the water using a mixture of translucent zinc white, iridescent silver, and iridescent gold.
My favorite part of this is the foreground lily, with the white and gold light reflections on it.
This is the first blog I’ve done in a while. My son needed major surgery this past summer, and this fall my mother has had serious medical issues.
I just completed this pastel drawing called “Mermaid Riding Fish”. I did this in Nupastels. The surface I used was a black toned professional artist quality pastel paper with a very rough surface – like sandpaper.
This is a scene at the Missouri Botanical Garden. This is in front of the climatron, which is a very large greenhouse filled with tropical plants and trees. There is a formal series of reflecting pools with lily pads, bronze sculptures, and glass art by Dale Chihuly, such as the yellow onion bulb here.
I took a photo of the scene, and used my ipad Mini as a reference point. I started with a detailed drawing in white “charcoal”. Then, I put in the background. I used a lot of blue green for the background, because the coolness adds depth to the scene. I decided to use a pretty strong blue green for the banana trees in the background. The statue in real life is bronze, and is done by a Swedish sculptor by the name of Carl Milles in the 1950’s. For the colors of the sculpture, I used yellow ochre and blue green together for the mid range values. For the hilights, I used a warm off white, then surrounded it with yellow and orange. I also used this orange in other areas of the painting such as the lily pads, the background landscaping, and the glass onion bulb base. The orange at the base of the glass onion gave it more richness and depth. The blue sky reflecting in the water contrasts very nicely with all of the yellow and orange. The bright yellow glass onion shows up well with the dark water surrounding it. The reds of the blooms in the background landscaping are a foil color, and break up the yellow/green/blue theme.
Overall, this piece has a warm, sunny, lush feeling to it. It shows summer at it’s best – lush green foliage, blue skies, splashing fountains, and bright sun. Here is the listing in my online store.
Today, I went to Goldman, Missouri to paint this quaint old covered bridge. It was a perfect day to paint outside – gentle breezes, warm, but not hot, and best of all I found a shady spot in which to paint this. This was done in soft pastels. First, I walked all around the area to find a good view. Then, the smart phone came in handy to make a good composition, avoiding center lines. A few lines were drawn based on this, and then the gadget was put away.
I completed the drawing in white “charcoal” using Sennelier La Carte pastel board in the color sienna. This has a rough, toothy surface that grabs and hold on to the pastel. It is possible to layer it thickly, and get some really good intense, vibrant colors in there. NuPastels were used first – dark, earthy red for the shadow side of the
covered bridge, and a bright tomato red for the light side. I paid attention to the structures inside of the covered bridge, as well. Cooler, grayer greens were selected for the background trees, and warmer, higher chroma greens for the foreground trees, shrubs, and grass. I also blended and softened the edges of the background trees. Dark blue was lightly scumbled over the green for the darker shadow areas of the greenery. Finally, the large tree covering the left side of the bridge was left out, as the composition would benefit from an area of flat color to offset all the variations in the surrounding greenery and the sun dappling.
I love to paint bright, sunny scenes. The key to that is to use a strong value system, including darks. This supports the lighter yellow greens, pinks, peaches, etc in this landscape. I made a special point to use my blue greens as well for the shadowy areas. Can you see the contrast between the warm and cool areas?
A guy was riding his bike over the bridge. That would really add a lot, to put him in there on his bicycle, so I asked him to ride through again slowly, and he kindly obliged. He was very nice, and we talked for a while. He took some pictures of me painting.
I LOVE spring! It is a wonderful time to paint outdoors. Today was a sunny, warm, breezy day. My husband doesn’t go to work until 3 PM, so he came with me, and we went to Forest Park in St. Louis to paint the gazebo in front of the Muny in Forest Park, which is an outdoor theatre.
I had already decided to do this one in 2 sessions, instead of just 1, because the subject matter is intricate and complex. I love older architecture, and this one is Victorian, and has lots of very cool details. I enjoy showing the details in older architecture. St Louis has much older Victorian architecture. My goal for today, which I achieved, was to get a good detailed drawing of my subject.
When I first got there, I chose a spot where there was sunlight on one side and shadow
on the other. This makes for a more interesting composition. At first I was just going to have the gazebo fill in most of the space, but then I decided to put it further back and include the bridge to the right as well. This way, I would have a wide expanse of water with the reflections, and sky, and this would make it nicer. We were blessed in that there was a park bench under some shady trees, so we sat on that.
I used my iphone to take a shot of it, just to establish the first few lines. I have a tendency otherwise to lose my composition and drift off the page. Then I built everything else on those first lines. The first thing I did was establish the horizon, which was 5/8 (golden ration) of the way down from the top. Then, I got the lines of the shore, the island, the basic outline of the gazebo, and the bridge. I put my phone away and did the rest just from sight. I have a view finder, but I need a stand or tripod or something to hold it stationary. It’s a pain to have to keep holding it up over and over, and finding the same view each time.
I plan to go back on Thursday, because tomorrow it’s supposed to rain. One thing about the midwest, is it’s a challenge to spend more than 1 day on a plein air painting, because the conditions are so different from day to day. At least I’m not trying to paint something that will change very fast, like flowers, or blooming trees. Stay tuned for my next session on this one!
Here is a piece I painted last winter with a painting buddy at the Missouri Botanical Garden. Since it was cold outside, we decided to paint at the temperate house. I was very drawn to this lovely bronze statue of a little boy playing the recorder. I have 2 sons, and for some reason this one reminds me of my younger son Andrew. There is something about the tilt of his head, and his general demeanor that reminds me of Andrew. I love how he is reflected in the pond, along with some of the greenery growing around him.
The Bevo Mill is a landmark building in St Louis Missouri. My great grandfather on my mom’s side built it. It was her father’s father. His name was Louis Henry Grone. He came over from Germany. He also owned a small beer brewery in an underground
cavern in St Louis as well.
As the store goes, my great grandpa built this for Auggie Busch, the man who founded Anheuser Busch as a stopping place to eat, drink, and rest while he was on his way to his farm in the country. (Grant’s farm) Every week, Mr. Grone went to Mr. Busch’s home on Pestalozzi Street, and placed his business card on a silver platter, which the butler then took in to Mr. Busch. The butler would return with the check for Mr. Grone.
At any rate, I painted the Bevo Mill as a mother’s day gift for my mom. Luckily she doesn’t have a computer, and I doubt any of my relatives on here will spill the beans between now and Sunday.
I painted this in the studio from a photo I took as I was driving by it on Morganford Road. I love how the sun is right behind the mill, and makes the sky really bright around the top of the mill. This adds drama, and makes it interesting. This was my first time painting in 3 point perspective. My husband made a beautiful professional looking frame for it from red oak.