Lots have happened on this project since Part I- This is about the Painting itself though and we will look at the frame resolution the next time around.

The challenge of painting a Large Landcape painting with a client in mind, and their voices in your ear is interesting one. My usual color choices, mark making, and way of working were challenged and I learned much from this shift. They were looking for a painting, 12’ wide mind you, that captured the feeling of their view from South Bristol looking out and through the trees to the Ocean. They view was so expansive and in the vein of the Hudson Landscape School that I was a bit overwhelmed at first but quickly studied, sketched, and positioned my composition and approach. I had done a small test painting that they approved, a summer romantic view if you will, and my first drawings used this as a guide.

Composition First

My First drawings tried to capture the sweeping view and great expanse at hand. The difficult part being the two end panels and how they dipped below. ( This piece is framed to go around the clients bed as a “headboard” ).

I believed I was on the path to success but collaborations are NEVER that straight forward. Our “Art” language was very different and it took awhile to understand what their expectations were and for me to explain my process, how I work and make Art. I will say Covid did not help this process one bit as the normal one-on-one time was limited and those masks- Oh those masks!

After 2 months of preparatory drawings and preparing the panels the image shifted via the clients request to a winter scene as the trees had lost their leaves and they had felt a change of heart and a shift in their vision for the project. And that was fine as the goal of the drawings is to map out the painting and as long as I had not started applying paint yet all was good.

A Winter Scene

The shift to a winter scene too a bit of adjustment, but I was happy with he start of it.

Anyone that knows me knows the palette of this piece is NOT my usual approach to image making, but I LOVE a challenge and what it brings to my work. Limiting my colors and deciding to use metallic pigments to work along with the gilded panels I set off into a winter wonderland. I did try to use hints of color that one only sees upon close inspection; The purple and blue hues in the snow, the pinkish wash of a sunrise, and the cool blue whites of the moonlit night.

Alas, things changed again midway through the painting and this was a bit more difficult to adjust, but everything is doable with paint + brush! That said I hate showing pieces half completed as I myself know where I believe the work is headed but the viewer, and client in this case, sees and thinks with a different set of eyes and their end vision rarely lines up with the midway point. The long and short of it was a change of the whole composition; The horizon line raised by 5+ inches, the shift of the whole composition to the left by over 12” and a whole new thought about the two outside panels. Instead of freaking out I charged ahead and worked for 2 weeks non-stop to create the new composition. Best to get it to its new place quickly before I or the clients question the change.

The top is where we were and the bottom where we landed after a 2 WEEK Intensive painting session.

They wanted more of a “through the trees” feel and a recent Moon Shadow night at their home was inspiration for the right half of the painting while still keeping the sunrise on the left- A 12’ wide composition can handle that though and I am extremely happy with the result as it tells a story that otherwise would not have happened.

I was also pleasantly surprised with how this helped resolve the two outside panels and the foreground. Looking at the Hudson River School and particularly the Tonalists- (Innes in particular) helped the clients and I speak the same language. Sometimes it takes time to get to this point and I love the journey.

The sunrise side gives a feeling of exhalation and warmth.

The Moon Shadow night side has a wonderful mysterious feel.

So, next is installation! To be continued . . . .. . .