Left, Roosevelt hospital street scene. The painting is shown as elements of the drawing are being completed and modified during the first imprimature.
The process continues: As color builds in to the forms, the problems in the drawing become more apparent. This view encompasses several station points and station point angles. The space is warped to accomodate a wide angle. In this phase of development the placement of objects and the planes will drift about while I fudge about with the inconsistencies. Note the figure at the clothing rack has shifted down. Follow the many of the figure's positions shift as the space develops in the following pictures. The final version will be posted on the gallery page.
Below: Two naughty naughty paintings. I often "clean up" paintings after I'm finished working in the field. This process can end up overworking the energy of field painting and rather than completing it, can smother the joy. This is why I have painting erasers,(Sandpaper ). I may take the canvases back into the field or return to the original color notes. Some of the wrong turns (photographs of unaccepted versions) are printed out and kept on file as inspirational starting points for future paintings.
Above left: East River Sunrise, in an unhappy state. This painting continued to evolve to a point where it could no longer withstand the vagaries of the aesthetic hammer...me. Get the sandpaper! See the re-habed version, hewing to the original written color notes, on the Gallery Page. Above Right: Another view of the Brooklyn Bridge in from the field to be finished in the studio.
Below, two sketches in oil of Wall Street made during the Wall Street Stop field painting sessions.
Above: The "tall" version of the brooklyn bridge seen in two stages of completion. The inspirational light was observed without sketching tools at hand. I could only make mental notes of the golden-rosy light. The painting was developed from on site sketches and color notes. The height is exaggerated somewhat. The drafting is dodgy. I find it charming. The background light had to be settled before I could continue rendering the bridge. When you watch the bridge in different weather the stone seems to sign in harmony with the light that bathes it. The version on the right is about 70% complete.
Below: The drafting foundation is applied to the canvas on site, and at right, the painting (unfinished ) in the studio in development from color notes scribbled in pen on a piece of scrap paper a year earlier. I have a stack of colors notes collected over the seasons while looking out those downtown windows. I will never be done painting pictures of that bridge.
View of the Brooklyn Bridge from Dover Street. At left the canvas with imprimatur color over drawing added from field sketch seen above painting. Follow the progress of the painting in the panels below. The painting is done on site in two hour intervals as the light conditions are met and weather allows. The version, lower right, is nearing completion. See the finished painting on the Gallery page.
View of the East River north from Fulton Street offices. This painting is being executed in the studio from a simple template drawing done on site and from quick notes of a foggy morning . ( The sketch notes were used for the painting seen in the window view above.) This painting evolved far away from these original notes into its own being; a gray-blue sunrise storm scene. see the gallery page.