Here's my introduction, used as required (and sometimes tweaked):
My name is Sharon Crute and I create dynamic and passionate equine oil paintings on large-scale canvases.
Museums are full of big canvases. Huge, monumental paintings of the gloriously romantic or dramatic historical narratives to rival a battlefield. They're in your face, command attention and invite the viewer to step right in. Pre-television eras, most. Size is all relative. Michael has somewhat discouraged the grandiose in this "economy" but large canvases is what I do.
I always lay down a neutral ground, this one being raw sienna. Roughly sketching out the shapes and composition in charcoal, I then go back and do a more detailed drawing in a red-toned conte crayon. Painting more accurately than I draw, I spend a good amount of time on my oil washes. When completed, that's the time to step back and make changes, some will be major.
I also try to work out problems in my sketch book as I lay in the washes. In the horse without the noseband, the tight rein on the bit would pull the mouth wide open. It felt like the bit had to go back further, then even further. I may pull it back even more for dynamic effect.
Becoming concerned that the new canvas may resemble an older piece, I dug this one out of the archives. This painting was created before I figured out that I really should document all my artwork. Duh. Anyway, it's somewhat alike but I'm comfortable with the arrangement of the new horses.
"Where art thou, Muse, that thou forget'st so long / To speak of that which gives thee all thy might?" - William Shakespeare