As an artist, this is interesting.  I feel as if I’m finding my personal voice in terms of influences: Impressionism v. Tonalist & Luminist art. (Those links open in a new window and take you to Wikipedia.) For me, Impressionism includes apparently disconnected colors & textures (at least, up close)

Sometimes I look at an older painting and it’s lacking something.  Oh, it’s often “nice enough,” but… well, that’s not enough for me unless it was just a quick sketch. My March 2010 painting, Spring is on the way, was like that.  It just didn’t have the oomph that I

This is an example of what happens when I look at one of my earlier sketches and all I feel is, “Well, it’s okay…” I started with the oil sketch from January 8th, the Orange Hills at Sunset painting.  Frankly, I was going to put it into eBay at a

This morning’s skies looked ominous at first, and the colors were there for just a couple of minutes.  I was glad that I’d already set out my palette with the colors I was likely to need. This was a small, fast oil sketch on an 8″ x 10″ canvasboard. Many

It was another sunrise with quickly-changing skies.  I had to work very quickly to capture the colors on these two 8″ x 10″ canvasboards. The first one includes darker colors and higher contrast. (In real life, the reds aren’t that vivid, blue-ish, or light.) The sun was just coming up

With some minor changes, the larger Flurries at Dusk painting is now completed. (See the nearly completed version plus backstory, here. Mostly, I added contrast in some areas, and softened the white areas in the sky.) It’s a higher key than I’d expected, but I’m pleased with the lyrical quality