Jackson Creek 2003

 

jacksoncreek2003.jpg

Jackson Hole, 2003 was painted somewhere along Mormon Road located outside of Jackson Hole, Wyoming.
Painting from digital photographs is always disappointing compared to painting on site.
Admittedly this one was a struggle as the overall on site feeling was overwhelming. The contrast between the surrounding area and the stream bed was what caught my eye. The trees seemed to be of a very great age in a struggle to remain viable amid the surrounding area of draught. Painting was completed on an 18” x 24” stretched cotton duck canvas with two coats of Gesso applied between drying coats.  As usual, I struggle with keeping the intensity of my work minimal, but always seemt to lose out on the struggle. I usually start out by roughly blocking in the various elements and then work from back to front. The stream bed was somewhat of a challenge to me as the digital photo showed an intense white stream bed
strewn with river rock with a few weathered tree branches.
I elected to keep this area non-descript in that I chose to forego the detail for an overall indication of just the water debris location. A comparison between the photo below and the painting indicates the artist license taken with certain areas.Richard Schmid would have had a ball with this viewpoint!Your comments are always welcome…as most of we artists continue to be on a continuous learning curve. Jim Gola, Artistjacksoncreekphoto.jpg
The Digital Photo

 

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5 Responses to “Jackson Creek 2003”

  1. Jim,
    Are you asking for critiques? If so, the photograph alone will give you many ideas, if you look closely at it. Actually, the photograph is exceptionally good for detail and composition. The rocks are white because of dried dirt on the stone. Look at the variety of spacing of the trees on the left, as well as the foliage, itself. Look at the stream bed in the photo and compare it to the one you painted. Look at the variety in the width of the creek in the left foreground and compare it to your painting. This will give you some ideas on how to improve the painting.
    I really miss the critique sessions of our past NOPG meetings. The last ones I went to some of the critiques were so idiotic that interest in them just died out. Bud

  2. Beautiful work Gola. Do you recall what colors you mixed for that purplish area just above dead center in the background? Great depth in this piece.

  3. Yeh, Ryan. It was just a touch of Alizarin Crimson and Ultramarin blue.
    I put a dab of cad Yellow Med in the white and ran a cobalt blur towards the upper part of the sky. The field colors were a combination of Yellow Ochre and Naples Yellow with a touch of accent white right below the mountain range area. The mountains in the photo were actually blue gray as you can see. I felt they needed some drastic modification (I felt) to give them some volumn.

    Gola

  4. Bud…

    You touched on the vey things I was struggling with on this one.
    I should have blocked out the painting as near as I could as per the photo. I didn’t. As usual, I jump right in with the brushes and take off like a bat out of the barn! I did introduce the sepia tones in the rock bed due to the photo showing them almost “white”. As is always the case with me,I tend to overwork areas. Schmid had it right when he said, “Have someone standing over you with a baseball bat and let you know when you should leave a painting alone.”
    Tks for critique, you have a good eye. Your plus fifty years of experience is showing.

    Gola

  5. I still have a lot to learn. I’m like a student in the backseat watching.

    I look at your painting and read your description, and I feel like something inside me is satiated.

    I read the exchanges of comments and I’m like a student listening.

    And Im glad where I am seated for I get the best view and hear things I need to learn.

    I wish you well.

    ~ Jeques

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