Friday, March 12, 2010

Immaculate Heart of Mary, oil on linen, 47 x 70

First image above: This is the completed first pass of the foreground. You can see it was pretty much painted in with full color. Notice the sky was left unpainted because I wanted it to relate to the ground masses.

Second image above: This is shown with an apple to see the scale. Here I finished the sky and found more detail in the light and shadow families. I find it easier to keep the sky clean by painting it last. This way I can use the sky color to paint right up to the edges of the already massed in areas. That allows for edge treatment while the sky is still wet–notice where the trees meet the sky. They are being washed out by the strong light and the trees are taking on more sky as they recede into the distance. That is why some sky color is mixed into them. It weds them with the same "DNA" as the sky. This creates the illusion of atmospheric perspective.

It is not yet finished. I'll probably look at it for a week or so, then decide if some areas could be tweaked. But I must admit I'm really pleased with it.


  1. It's so great to watch this painting evolve. I also really appreciate the commentary, which gives insight into the process and how to look at a painting. --Catherine

  2. Hi Ron. I am so glad to see a work in progress here. This is going to be a stunning piece. The light and composition are fantastic. You've made Polish Hill look like an exotic location.

  3. Thank you for your commentary along with your painting progress. I learned something new about the foreground vs. sky and will use it!