The Refuge Cove

“Refuge Cove” is one of those paintings that started as a plein air experience and ended up as a studio painting. I am not a purist as some outdoor painters are in that they insist one should not put another brush stroke on the canvas after putting away their easel, although I have a great admiration for those who can do this. Back in the studio I can always see some improvement here and there on the canvas the next day. I may go out to the location again and finish the work, but invariably will depend on my memory of the experience complete the canvas. I was pleased to read that even the great plein air painter Corot, of the Barbizon School in France did the same thing. I would say that is not bad company to be in. This painting is currently on view at the Washington State University Art Gallery until march 26.

The Red Field

This painting turned into a journey I didn’t expect. I intended to do a study of field workers picking flowers for the commercial market. After spending several hours working on six figures of field workers, I felt fairly satisfied the way they integrated themselves into the painting, I retired for the night.

The next morning, upon walking into the studio, I glanced at the picture and my eyes immediately zeroed in on the workers. I saw that they were totally capitalizing on the composition of the picture. Without further ado, I took a linseed oil soaked rag and with a few swipes the field workers were gone.
 There are certain paintings that can stand on design elements alone. This may be one of them. The strong color forms elicit a sense for nature’s abstract qualities but still allow for the viewer’s placement into the picture. The old saying “less is more” seems to be apt for this work.

Jerry’s Fields

The painting shown for this installment is simply called Jerry’s field. This field is just below our property in Woodland, Washington. No, there are no blooming flowers at this location of Jerry’s fields.
Over the years there has been everything from beans to corn and now turf (grass).
Jerry’s flower plantings are further up on the northern portion of this field.
So why did I show something that is not there? It is simple.
I can answer that question with a question.
Are flowers more colorful than grass, beans or corn? You bet!

Anticipation

 A story starts somewhere and in this instance it started from a view below our property. As some of you know, I seldom ever introduce people or critters in my paintings. Somehow I always think a static landscape view can be read into for what it is. Figures always introduce a story in the mind of the viewer. This painting started as a “pure” landscape, i.e. no critters, but on continuing advice from my friends,the painting name changed to ‘Anticipation”. You can make of it what you will. I can look past the figures.
Hmmm, maybe I could have just called this picture “A Fall Afternoon” without the additional flesh and blood?
Your comments are always welcome.
Thanks for looking. That is what art is all about.

ROCK CREEK 2009

This is an imaginative exercise. I occasionally will rough in a few trees and see where the painting takes me from there. It is an ongoing “thing”. I never know exactly where or when the painting exercise will end. It may take form as a sunny day, an early morning, evening or even a night scene. In this case I elected to work up some late evening colors. A simple evaporating reddish sky with an invisible sun re-ceding at the center of the picture was the result. The center of interest is fleeting along with the sun as I can’t quit put my finger at where the eye travels upon entering the frame. You be the judge and let me know your feelings on this one. I love criticism.

Paradise Point Bridge Winter 09

It was cold winter morning walk along the East Fork of the Lewis River. A pervading dampness was in the air from the melting snow. Interstate Highway 5 State Park Bridge in the background. What makes a painting? I sometimes ask myself.  It would seem that I am the only one that could relate to this scene. The famous landscape painter George Inness (1825-1894) said that all that is required of a painting is that one elicits an emotion when viewing it. Let’s just go with that.

WINTERS EDGE

“Winter’s Edge” was painted a day after an early snowfall in Woodland, Washington. The scene could be anywhere there are rivers with wooded banks. I was struck by the patterns created by color and shape. This is a somewhat minimal painting pertaining to subject matter but I feel it has been compensated with the soft colors of a cold day.

For a full color Giclee print of this work, you may go to…. http://fineartamerica.com/featured/winters-edge-2009-jim-gola.html

Thanks for looking…

Late Summer Afternoon

 

“Late Summer Afternoon” is a 24” X 30” stretched canvas oil painting on a sepia toned surface. This is a larger format painting than I have been doing lately. I must say it was a lot of fun using arm movement for a change rather than just wrist movement. There is a certain spontaneity retained in larger format works. The only problem I encounter is that one needs a person standing behind the artist with a wooden hammer ready to tell him or her to stop painting before going past the “painting done” mark.
A framable Giclee archive prepared print of this painting is  available from Fine Art America.
Go to http://fineartamerica.com/featured/late-summer-afternoon-jim-gola.html

Sacred Heart Chapel Paris

The Sacred Heart Chapel (Sacre-Coeur) in Paris.

Brother Tom and Sister Barbara Baker –
I removed this painting from your office wall six or more months ago to re-varnish it and to find a better frame for it. The more I looked at the “thing”, I realized my painting ability had slightly improved from 1972 when I painted this picture (well..not this picture).

I started to do a little re-touching here and there and before I knew it, I was repainting the entire picture. It went from a summer scene with green trees to a fall scene. I just could not help myself. I admit I was influenced by looking out my studio window at the fall colors.
Anyway, the damage is done!

I am still looking for another more suitable  frame for the picture. I destroyed the old frame getting the picture removed from it. I had nailed the picture into the frame.
Well, I nailed it wayback in 1972. I wouldn’t do that now.

Anyway, I hope you agree with me. The painting is much improved with the new season it carries. I hope you like it.. I do. I will bring it with me when I see you.

Your brother,
Jimmy

PS You may obtain digital Giclee prints of this picture by going to the link below..

http://fineartamerica.com/featured/sacred-heart-chapel-paris-jim-gola.html

View From My Studio Window

“View From My Studio Window” is another experiment with an oil wash under painting. The pastels were applied over the surface when the oil wash had dried. The board was primed with “Golden” Acrylic Ground for Pastels. It gave me a good tooth to work on after the oil wash had dried. I must admit, “Wallis” paper or some other commercial pastel surface does take to pastel more easily. This is the second time I have tried this. I may not go about it again in the same way. It created a challenge for me as I used a little “Galkyd” as an oil thinning medium and the surface dried a little glossy. The overall look of the picture has a more subdued coloring than my full oils do. I thought it would be the opposite. It just goes to show that we don’t know everything we sometimes perceive will be the outcome.