I was recently granted membership to Oil Painters of America (OPA) association and I am hoping to work on a much larger painting with oil in the next few months for submission. I thought I would do a few smaller studies that will be incorporated into a larger painting. For this painting, I toned the panel with a mixture of burnt sienna and white. I decided to let some of that toned canvas come through in certain parts of the painting to give it a warming effect, a tip I received from an experienced plein air painter. My go to brushes have become a size 8 and size 10 bright brush, the Blicks Studio brand. I think I will be purchasing some Grumbacher Brislette brushes next. I do most of my work with these brushes, then I add details with a variety of other brushes.
This painting is actually based off a road in France, but the scenery is very similar to that of the country roads in Georgia. I ended up changing the colors a bit to fit a setting in Savannah, GA. And, of course, I could not resist adding more color to the road and surrounding vegetation.
I decided to go back to acrylics for my next few paintings in order to observe how much my style and technique has changed. I am so glad I switched back for a while because I really enjoy the ease and quickness of using acrylics. My brushes are a breeze to clean and there is little time to wait until the painting is dry. It is certainly not as luminous as an oil painting, but it certainly is brighter. I am also a big fan of implementing texture into my paintings. Oil tends to blend and muddy very quickly. I was told that making acrylic appear like oil is a challenge, and I am certainly up for that challenge! I think I may settle for acrylic until I tire of it again.
I wanted to paint something colorful and dream-like. I love the idea of challenging perceptions of realism in art and I am beginning to believe that what we see is always questionable. However, I do believe it is false to rely solely on intuition for guidance–being able to utilize one’s intuition while under control leads to perfect harmony. I painted many landscapes in various styles–impressionism, realism, and abstract–and I feel that each one is different. This is perhaps because I allow the painting to speak rather than impose myself on the painting.