Wednesday, December 29, 2010

Gary Morning–Brooklyn Bridge

PS: Again I did what I had promised myself I wouldn't do. I posted a painting before I was fully satisfied with it. I have since been reworking this painting and the colours have changed significantly. I am not sure how to use this blog anymore. I really don't want to show art that is not ready anymore but I also want to keep this blog alive. I am lost for ideas!!

It has been some time since I last posted here. Sorry about that. I have been painting and enjoying the family and something had to give way. This blog was it.
Over the past few days – on holiday – I have been cooped up in my studio working on this 16”x20”. I can’t make the photo stop averaging out the colours and allow for the subtle variations. Somehow only bold colours make for good viewing on the screen. This one is all about subtle moody colours and light. With almost no hard lines and a lot of atmosphere. A moody painting for sure.

Gary Morning–Brooklyn Bridge, Oil on Canvas 16”x20” 

Thursday, December 02, 2010

About Painting Trees

Trees are a ubiquitous element in plein air painting. They represent a major part of most works whether they are the focal points or a part of the general landscape. As an element in nature they also represent the most prolific group of growth out there. It is therefore worth while studying them and their growth and characteristics so that we can portray them convincingly in our artwork.

When it comes to studying tree one of the best sources is an Eastern art that is focused on trees: Bonsai. Bonsai is the art of growing trees in pots. These are normally small to medium sized dwarfed trees – kept small but constant pruning of leaves, branches and roots. The art form is highly stylized, but offers a very helpful categorization of tree forms and types. Each style of growth in Bonsai is derived from careful study of the tree types, how they grow and what characters they develop from youth to old age. Trunks and branches are carefully pruned and shaped to comply to natural growth patters in normal trees so that these small trees echo their older larger cousins in every way, and form a stylized, but true representation of them.

There are many aspects to pruning and branch placement and development that if studies carefully would be very helpful for the artist interested in depicting trees, but we will focus on the general styles or shapes of bonsai and try to relate them to our art-form of painting nature for now.

In Bonsai there are several formal types that represent the classical characters that trees take in nature. Each type tells a story of growth and life. I have taken each of these types and matched them with a painting of a tree so you can see how these Bonsai stylized forms actually work with our art form:

Formal upright
The Jack Pine     (1916 - 1917 )
Tom Thomson, The Jack Pine

Mulberry Tree
Vincent van Gogh Mulberry Tree

The Esterel Mountains
Claude Monet The Esterel Mountains

Informal upright
The Pine Tree
Tom Thomson, The Pine Tree

Fred Varley, Stormy Weather, Georgian Bay

Arthur Lismer, Pine Tree and Rocks

A Meadow at Giverny
Claude Monet, A Meadow at Giverny

The Last Gleam
Charles Warren Eaton, The Last Gleam

The Olive Tree Wood in the Moreno Garden
Claude Monet, The Olive Tree Wood in the Moreno Garden

Tom Thomson, Autumn Birches

Old Pine, McGregor Bay by Arthur Lismer
Arthur Lismer, Old Pine, McGregor Bay

Frank Carmichael October gold
Frank Carmichael, October Gold

Each of these styles would be worth a lot more study and understanding both from Bonsai and from nature itself. There are key elements in these styles that work to achieve believability and representation of a living natural trees. They come from centuries of careful observation and minimization of the forms. By studying these Bonsai tree styles and keeping them in mind, you can ask yourself the next time you are faced with a tree to paint: What Bonsai style is this tree? What is its form? How does it grow? What story does it tell?

For more on Bonsai styles look here: