Here's an experiment with unusually broad handling—big, chunky strokes in oil made with large brushes and lots of paint. I also pushed the shadow values, warm and cool colors, and rim lighting.
The technique draws attention to the play of shapes and colors, but the tradeoff is that we lose scale, atmosphere, and realism. Everything in painting is a tradeoff. You gain one thing and lose another. I enjoy exploring many different strategies of seeing and painting, so that I have a variety of approaches ready on my tool belt to meet a given challenge.
4 comments:
I love the way the gradient of color on the peaked roof (on the right) suggests its rounded shape. I also have benefitted from Gurney's recommendations to use larger brushes, I tend to get caught up in "too much detail" with tiny brushes. I'll have to try this out on my next piece.
This technique is sometimes very appealing. What colors did you use for this palette?
I do not feel that this painting sacrifices atmosphere and realism. For me it captures that liminal moment when sunset begins, but it's still almost full daylight. There's a realism here that I don't see in a more photo-realistic approach. It's a wonderful painting!
This is something I have always said: the more tools you have at your disposal, the more freedom to create you own. Every subject can be aproached from different angles. It's up to the artist to choose which one suits better to the message he wants to convey.
Anyway, I agree with Knits and Weaves. This painting do have atmosphere. Congratulations. In my opinion the experiment is a success.
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