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| A Spring Morning in Capay Valley 12" x 36" oil on linen |
In a previous post, I talked about painting a study of this beautiful scene in Capay Valley, not too far from Sacramento. My plan was to paint a diptych for the final version. During the study, I felt as though the left hand side of the painting needed more interest - particularly in a diptych - and so I painted in a wooden entry gate. It did add interest and I liked the result.
However, I recently decided to do a single elongated canvas for no particular reason other than I had the stretcher bars handy and I liked the scene. I continued with the plan of adding a gate at the left side during the start of the painting, but as I progressed I felt less and less strongly about the need to do so, particularly given that I was back to a single canvas. In the end, I laid in the grove of trees at the left with a palette knife and then pushed the paint around with a stiff bristle brush trying to get a lot of texture. I also added shadows to the left to add "weight" and balance and also to move the eye to the lighter areas of the painting. I think it works OK. The texture definitely adds interest and the painting seems balanced to me. When I do the diptych version, I'll reconsider the gate.
This is oil on oil primed classen's linen. It's the first time I've used this particular brand. It isn't hard to see why it is so popular. The texture is just right and the paint stays on the surface of the oil priming beautifully. Eventually I will have to re-stretch this painting. I did not have a center brace for the stretcher bars and the inexpensive brand I used has no provision for one. As a result, the stretching process bowed the stretcher bars along the 36" width. I'll order some good quality bars with a center brace and redo it when the paint drys, which is going to be a little while!
My Art Site: Bruce Hancock Fine Art
