Essentially I am representational/plein-Aire painter, with a leaning towards impressionism.
The dramatic lighting that occurs in the early morning or late afternoon is what captivates my attention. Plein-Aire painting is essentially about capturing the magical but ever-changing quality of light that enhances a landscape. When I am out rummaging through the backroads, I stay alert for intimate yet dramatic scenes that may be easily overlooked. Often it is late afternoon sunlight glancing across a field of hay or the reflection of trees illuminated in a small stream. I am fascinated by the way the light reveals the many subtle colors and textures. My observation is focused and critical, requiring a great deal of editing for the final painting to contain the magic that the light has revealed.
I value the drama of a strong composition, solid drawing, complex textures, creative brushwork and sumptuous, rich color. There are many painters who have guided me on my journey. Past Masters include: Joaquin Sorolla, Anders Zorn, and John Singer Sargent. The California Impressionists include: Edgar Payne, Granville Redmond and Jack Wilkinson Smith. Contemporary painters I’ve learned from are: Kevin Macpherson, James Reynolds, Ralph Oberg, Jim Wilcox, Clyde Aspevig, and Richard Schmidt. Workshops with William Scott Jennings have contributed greatly to my ability to capture the essence of a landscape in a short period of time.
My painting method follows the tradition of the Barbizon School of early French Impressionists. A group of artists would set up their small, folding easels before dawn in order to capture the colors of the rising sun filtering through the trees. They would spend weeks living in the forests, studying the light and trying various techniques to quickly paint their small
canvases. With my busy schedule, I don’t have the luxury of staying on-site for more than 2-3 hours. I set up my French easel with an umbrella to control where the light falls on my palette of 12 colors. I usually paint on specially prepared 12” x 16”canvases. Using 1 or 2 rather large, flat sable brushes, I block in the scene with broad strokes and then gradually concentrate more on the main point of interest. The scene itself is the only the starting point, as I try to capture the feeling or mood of the light and place, interpreting rather than copying it photographically.
I simplify the large shapes and create interesting brushwork by painting quickly and intuitively. This is extreme alla prima painting because the light can change so fast. After a few hours of intense work I’m tired but feel very exhilerated by the challenge. My companions as I paint,
are the birds, the wind in the trees, and God’s special gift of light.