Recurring Eucalyptus

"Recurring Eucalyptus"
16" x 12"
Oil on canvas panel

Here's the eucalyptus tree again, this time without the distraction of the left side closeup trees.  I've drawn it in pencil, in pastel and now oil, with subtle differences in each rendition. 

Seldom do I repaint a subject so soon after I've posted it, but these trees intrigued me. A point of interest is that the foreground is a brushstroke akin to the ones I use with my pastels. It just began happening, so I let it. The middle ground where the focal point is is more detailed.


Meandering Into the Sunset

"Meandering Into the Sunset"
8" x 10"
Pastel on black hardboard 
If I had been on a horse that evening, I would have ridden to that point on my painting where the water reaches the tree line. I would have made it there before night consumed every last bit of color, and back again.  Or not. 


Eucalyptus Revisited

"Eucalyptus Revisited"
10" x 8"
Pastel on black canvas

I was compelled to tackle the eucalyptus tree I drew with graphite the other day in pastels. The colors were as appealing as the composition. 

I like how the weeds in front lead us to the stream, which takes us back up to the tree and the crop behind it.


Continental Divide

"Continental Divide"
6" x 6"
Oil on flat canvas
The Continental Divide slumbered behind the trees along this creek that I passed several times a day near the resort where I stayed in Winter Park.

This is a thirty minute painting. According to Robert Genn of The Painter's Keys, it's good to do them with some regularity... "to focus and pay attention, if only for a short time. It's been identified as a primary key to the development of human effectiveness."

Trying to focus here...
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Winding Through

"Winding Through"
10" x 8"
Oil on canvas panel

There were narrow places in the stream that you could step over, others wide and deep enough for fish to gather.  Every step of the way was intriguing and teeming with life.  

If you look closely at this piece you'll see the calligraphic strokes of my rubber tipped shader. I toned the canvas with burnt umber so those marks reflect the underpainting, and not white.  There are times when this technique just feels right.

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