A Hint of Color

For the past couple of years I've toned down my colors and experimented with neutrals. I'd begin a painting session by making piles of cool and warm grays. Cobalt and cad orange, cad red and cerulean, different reds with greens, and my favorite: burnt sienna and ultramarine blue. Then I'd put in a surprise of high key color into my focal point to make it pop. It was a technique that was especially useful when I began painting plein air because - and please don't hate me for saying this - I think most plein air paintings (especially landscapes) are a bore.

This reminds me of a quote by the late, great, Robert Genn regarding a device he used often: "From a painter's point of view, a 'red surprise' is most effective for bringing focus and heightened interest to many works."

Then there were complaints from the partnership, even to the point of suggesting that I could possibly be developing cataracts! So, I took a scrutinizing look at my recent work and realized it was indeed slipping into the snooze category. It was therefore such a pleasure to step back and acknowledge where I'm comfortable on the color spectrum.

Orange Bucket, 11"x14", oil on panel

I've also been experimenting with transparent oxide pigments. Toning the substrate has been eliminated as I want the white surface to shine through the layers. I love them! Transparent red oxide is a spectacular color and has largely replaced burnt sienna (except in making those lovely neutrals). Even the brown oxide is beautifully vivid with an orange-y tinge (goodbye burnt umber).

Why does everything have to look so real? It doesn't. It's our job as artists to create intrigue, mystery, audacity and even a little absurdity.

Funnily (as Robert Genn would say),
Sharon