- All off the greens and blues are pthalo of course, the green grass at the foot of the barn, the foreground shadows, even the deep color of the pines at the right.
- All of the shapes and masses are kept large, that is they aren't chopped up with distracting, interrupting details. Every nuance within the shapes is subordinated to the larger shape. That is , when you look at it you see the big shape and THEN the variety within in it.
- The trees are handled as a blur of fine sticks against the sky. Both have to be wet to do this and it takes a bit of practice. I always liked that effect though and have painted a zillion trees that way. This is more a convention than something you will always observe. It is a simplified explanation of what is actually seen.
- The big squared off shape of the sky as it descends above the pine tree at the right makes the sky the positive shape. It is painted over the trees and makes the sky the "big" shape. This curving, thrusting form also brings the viewers eye around that corner and down towards the river. Gruppe does the same thing again to the right of the barn roof.
- Notice how Gruppe has linked all of the light shapes of the rocks beginning at 9:00 and continuing along the stream into the picture. The upright trunks of the trees are tied into that series of shapes too.
- The dark pine next to the barn's roof and the pine that "ends" the stream bracket and close in the illuminated tree and barn "punchline".
Tuesday, August 30, 2011
A Gruppe and some fast food
Here I am again, blogging from McDonalds. Maybe tomorrow I will have my internet connection back. I am going to shoot some bullets at this Gruppe painting.