some paintings finished recently. finally getting around to posting them.

Head study painted from life. Model: Amy Waters.

Late fall plein air from Frog Hollow Farms, Gallatin, TN.

Still life painted from life.

Have I mentioned that I like painting from life? You just can’t beat the experience.

Belle Meade Bridge – 11×14 – oil on Belgian linen

painted en plein air in belle meade, tennessee.

At long last! Tennessee actually got some real snow. And it actually covered the grass. And it actually hung around for at least a couple of days. Here in Tennessee, weather like this is extremely rare and it shuts everything down. The pandemonium that ensues will never cease to amaze me.

Having grown up in the north, I happen to love the snow—wish we could get more of it. But I love it even more now that I have done my first plein air in it. It was a lot of fun. Hope you like it. It’s my first in the snow.

Winter Plein Air — 8×10 — oil on Belgian linen

Chicken – 11×14 – oil on Belgian linen

This is one more piece I’ve done in preparation for the Sixth Annual Art Event at Lipscomb. The Art Event is a three-day fine art sale benefiting David Lipscomb Campus School in Nashville. You are invited to a Grand Opening & Reception Friday, February 12 from 5p—9p, with the show continuing on through Saturday, 10a—5p, and Sunday, 1p—5p. Please drop by, I would love to see you and I think you will enjoy the show.

click here for more info

Pêcheur à Marée Basse — 24×36, oil on Belgian linen

A couple years ago, my wife and I traveled to Zegama, Spain to be used in some short term mission work with the Bonikowski’s—missionaries to the Basque region. Some of our time there included an excursion just over the border into Biarritz, France, where I encountered real french crepes like my wife makes and this weathered fisherman on the Atlantic coast. At low tide, these pools were full of fish and other sea creatures, hiding in the shadows and clefts.

A little about the process:

I began first by giving attention to the composition and design of the painting. While it is based on a photograph, it is heavily edited and altered for color, lighting, and compositional interest.  Next, I concentrate on solid form and drawing before any paint is applied. When the drawing is correct, i move into the painting, always attempting to paint with as much speed as accuracy will allow. Brushwork techniques range from thin scumbling to wet, alla prima brushwork. I aim to keep the edges and brushwork loose, then, around the center of interest, tighten up details. The materials are a range of oil paints of various brand and color, brushes ranging from medum and large bristle flats to langnickels and sable rounds for details.