Country Road Again

[P. Barrie]

OleKobe, thanks. Sno, Donna, thanks again

Terrl, thanks, those are exactly the considerations that are vexing me. Apparently the camera lens obsured the upper foreground. If I were standing there the pole that the wires go to is out of view, just behind me on my right. The wires would be going overhead and to my right, again they would be obscured and seen by peripheral vision unless I looked up. So...perhaps they are not relevant to the view and should be left out?

 

[Katie]

It's delightful. It's a feast of interesting shapes and colours which take the eye all the way through the landscape with every bit as pleasing as the last.

 

[P. Barrie]

Katie, thank you! Quite a compliment

 

[Terri]

So...perhaps they are not relevant to the view and should be left out?

First, thank you for explaining the camera angle and how that part area was obscured - I had a feeling it was something like that.

It's always artist's choice, and what we're discussing isn't being noted by everyone, either. So I'd say it's jump ball!

 

[Artyczar]

This is a better rendition, Patrick. I do have to say that those powerlines still distract me somewhat, but I don't want to be a...wet rag or anything, because it is so otherwise stunning. I'm just with Terri on this. Maybe the photo was an optical illusion like you all were saying. But the way the other poles are lined up, it seems like the next one would come up closer to the last and already be in the foreground. The lines would then connect to the pole that should show up in the painting to the right side and not pull up and out into the sky. It seems more "natural" for it to do this, but if the reference photo didn't have this, or the next pole was placed farther in the distance, (or not closer to the road?), then it is what it is. It's still a beautiful painting!

 

[P. Barrie]

Ayin, yes the apparent distance between the poles seems off as well. When I took the shot, the next pole was just behind me on my right. Camera foreshortening and lens distortion, one of the pitfalls of using photo refs. The ipad has a somewhat wide angle lens which can cause this. Had I been plein air maybe it would be different...maybe not However, the distortion does add some to the feeling of depth.
So anyway...taking all this into consideration...The foreground power lines are going away in the painting.

 

[MurrayG]

So here’s the latest with the wires and other changes. I think this is a better pic taken in window light.
So I’ll wait awhile for some detachment to reevaluate how the wires work. Feel free to add your take.

View attachment 17855

That seems to work, well done.

 

[Arnie]

Beautiful painting Patrick. Like the rework. The wires are a nice touch. Also the better photo shows off the interesting colours and variations.

 

[P. Barrie]

Murray, Arnie, thanks

 

[ams]

Lovely P. Barrie. I like the shadows and the way you painted the hill. It reads just right.

When I saw the first version, I felt you should leave the power lines alone but you did them just right. They are there but don't overpower.

 

[P. Barrie]

Thanks Anne

A few value changes and the foreground power lines are out.

 

[Artyczar]

Beautiful. The powerlines thing now dies not distract me at all. All the focal points are just perfect.

 

[P. Barrie]

Thanks Ayin
I want to take the abstractions beyond the brush stroke level, more to the overall composition and object/light level, omitting smaller details. Any tips? ( other than using bigger brushes)

 

[Artyczar]

I am not sure. I don't really use bigger brushes except for blending really. I just fill in bigger areas with color. Sometimes I take my compositions in Photoshop and play with them in different filters and layers to see what I might want to do with them. But a lot of times it pretty much unfolds as I go along.

 

[P. Barrie]

I’ve recently revisited some of Diebenkorn’s early works that show his transition towards abstraction. The landscapes and interiors that have simplified and abstracted drawing and shapes that still convey convincing light and space through color relation. Same kind of path that Matisse went down. They’re inspiring.
I feel this is a logical progression towards abstraction.

 

[Artyczar]

Sounds promising.

 

[Hawkmoth]

I love this one, especially the colours.

 

[P. Barrie]

Thanks Claudia
looking at the painting today, I’m seeing the colors too saturated. Maybe its my mood?