California snow landscape oil painting – Red Cabin – Mt Pinos
“Red Cabin at Mt. Pinos”
12 x 16 oil on canvas
Available
We had another good rainstorm here in Los Angeles, which translates to snow in our higher mountains. I had been saving this painting for the next snowy occasion , so here it is. It’s a new one, of a cabin in the woods on Highway 95, through Fort Tejon National Park, northwest of L.A. on the slopes of Mt. Pinos.
I hear there’s another storm coming in a day or two. After that one passes we’ll probably make another snow trip, perhaps closer to home into the Angeles Crest National Forest.
Snow is interesting to paint because, being white, it picks up all the colors of the environment. When you look at this painting, there’s actually very little pure white in it. But it’s unmistakably snow, right?
Newport Beach Painting – Sunset Surf – California impressionist marine seascape
More of my Newport Beach Paintings
Sunset Surf (at Newport Beach, CA)
8 x 10 oil on linen on board
SOLD
During those times of year when the landscape has shed its fall color, and before spring color appears, sunsets continue to charm the colorist in me.
Newport Beach is one of my favorite subjects for painting – from Balboa Island with its charming shops and village ambience, to the spectacular sunsets of the beach and back bay.
While visiting the Laguna Art Museum recently for the Wm. Wendt exhibit, I saw some paintings by Laguna painter Frank Cuprien and was captivated by the way he captured the luminesence of the surf when the day was drawing to a close. When I saw a Newport sunset with those same opal tones, I was tempted to give it a try.
Try this: This is a small painting, a study, just 8 x 10 inches. To see it as it is meant be seen, enlarge the picture then stand back from your monitor about 8-10 feet, if you have the room. It looks different, doesn’t it? Whenever I am painting up at the Descanso Gallery, people come up to see what I’m doing, standing about 3 feet from the painting. I think that I can read their minds sometime as they see the expressionistic brush strokes, which look coarse in close up. So I walk them back a short distance, as in a living room or dining room and then have them look again. They are almost always surprised at the difference.
This is one of the inherent problems with showing work online when your viewer is sitting right next to the monitor. So … give it a try, stand back and see the difference.
To see more of my seascapes, visit my seascape gallery page.
California Oil Painting – Sycamore Meadow – Karen Winters
Sycamore Meadow
(Placerita Canyon Nature Center)
9 x 12 oil on canvas on board
The brilliant colors of fall give way to the softer colors of winter. In the last transitional days, some color remains on the trees, but the landscape takes on soft and refined hues.
Today the rainstorms are subsiding, and I’m optimistic that the next few days will show snow-decked mountains. I can hardly wait to see what the storm has left. Every season brings its unique gifts. As a California painter it’s always a thrill to see the seasonal changes of this beautiful and varied state.
Descanso Rose Garden Pathway
Descanso Rose Garden Pathway
8 x 10 oil on canvas on board
Available for sale.
This painting has evolved through the years. It started as an oil sketch a few years ago, but I put it away, dissatisfied. Today, with a few miles under my brush, I took it out again and revisited the subject. I’ve noticed differences in how I paint certain subjects. I’m more aware of color in shadows, and I tend to paint masses of leaves and flowers rather than just individual blossoms. I’m more likely to change the scene from “what is” to “what could be.” And I am more inclined to simplify and not to put in every bench and bud if it doesn’t add to the composition. The painting is wet so I had to filter it a little bit to get rid of all the distracting specks from the indoor light. When it’s dry I’ll either scan it or take it outside on a non-rainy day and shoot it in light shade or indirect north light. Which is to say, it’s a bit crisper than this.
If you’re interested in this painting, please write. My email is at the top left of this blog.
White Roses Botanical Oil Painting – Sally Holmes
“Two Sally Holmes White Roses with Jasmine”
9 x 12 oil on canvas
Available
Interested in this painting? I’d love to hear from you.
These Sally Holmes roses grow in my garden. They’re climbers and love to arch over the little arbor I have that leads to the back yard. Sally is technically a shrub rose, but it is a hybrid of “Ballerina” (a hybrid musk) and Ivory Fashion (a floribunda.) It grows like crazy and is a welcome addition to any garden.
I’ll be showing this painting and many others at the Sierra Madre Art Fair on Saturday and Sunday May 7-8, 2011 in Sierra Madre, California in memorial park. Please come!
California Plein Air Landscape – California Mission Garden at Descanso Gardens
California Mission Garden at Descanso Gardens
11 x 14
oil on canvas, plein air painting
Interested in this painting? Please write!
The good news: it was a picture perfect day in Southern California. Perfect, in fact, for April. The bad news: this is February 1, and no rain in sight. We desperately need rain, both for the snowpack on the Sierras and to nourish our local flora as well. But I tried to make the best of a bad situation by going out to paint at Descanso Gardens today in the Rosarium. The good news: it wasn’t too busy because everyone was home getting ready for SuperBowl parties. The bad news: there weren’t any roses to paint, either (duh) because they had all been pruned back in anticipation of a fabulous spring bloom. So we looked around to find something as sparkly and fetching as newly opened roses and I came upon the Mission Garden fountain, glistening in the afternoon sun.
I got set up around 1:30 and by 3:30 the light had changed so completely that I packed it in. In the meantime, I enjoyed painting and sharing my love of plein air painting with others.
I thought I was painting, but it turned out I was drawing … a crowd. Of course, I love talking to people about painting so I didn’t mind, and it was good practice for the demo I’ll be doing in May for a local art club. I expect they’ll want me to talk while painting and I don’t want to disappoint them!
For those of you who like to know what I’m using … I have a small 7.5 lb. Yarka easel which sets up very quickly. I should have had an umbrella but didn’t. I should have been wearing a black apron but wasn’t. I have an easel pal that sits on the easel and holds my palette in the middle, while the wings open up and hold OMS, brushes, spare paper towels and whatnot.
California Landscape Oil Painting – Hansen Dam Willows
Hansen Dam Willows
14 x 18 oil on canvas
Like most seasons in Southern California, signs of the season don’t follow a predictable pattern. This, for example is what early winter looks like at Hansen Dam, about 15 minutes from our house. To most people it would look like fall. But no, in fall the trees are still green. Because of our short seasons, however, spring is likely to come early. Our ash tree lost its leaves after Christmas in one rain and windstorm. Within a few days green leaves were making their appearance. It’s weird. I know.
We lack a full season of snow, gray and restful quiet but we do gain extra months in which to paint growing things, like these fall beauties gracefully shedding their leaves with every passing breeze.
Today’s reception for the new members of Pasadena Society of Artists was wonderful. It was a terrific opportunity to meet new friends and catch up with old friends, talk some busienss and enjoy a lot of beautiful art. The show runs until January 29 … so if you’re in LA, I hope you’ll have a chance to stop by and see some of the things we’ve created. We were each asked to bring one painting to the show – a painting that was one of the three we presented when we were juried in. Because two of those paintings have sold (Castle Green Balcony and Under Autumn Skies) and the third is currently in a California Art Club show at the Blinn House – instead I took this one … Dana Point Headlands, 18x 24 oil.
Eaton Canyon Oil Landscape Painting Study
Eaton Canyon Color
5 x 7
oil on canvas on board
These small color studies are fun to do when I don’t have time to dedicate to a larger painting. I guess that’s the essence of being a “daily painter” isn’t it? No one really expects us to finish a large painting every day, but, like Jello, there’s always room for a small study.
Although there’s not a lot of wildflower color this time of year, the remnants of autumn brush still glow against the greys and browns of winter. Buckwheat is one plant that adds a ruddy hue to any landscape. I like the white boulders that gleam in the sunlight – I think they add an interesting sculptural touch and provide contrast to the soft foliage.
This small study may be the basis for a larger work sometime soon. And speaking of larger paintings, I’ve been working on a larger Eaton Canyon oil painting, 16 x 20 inches, and I will be putting it here soon.
Colorado Street Bridge Painting – California Impressionist Pasadena Landscape
SOLD
Across the Arroyo
9 x 12 oil on canvas on panel
(The Colorado Street Bridge, Autumn in the Arroyo Seco)
New, and available.
Yes, more sycamores. It’s the time of year when I want to capture them in all their glory, and if I can include my favorite bridge, all the better.
Just looking at this view makes me happy. And painting it, well, I can get downright giddy around these trees.
Arroyo Seco Path – California watercolor sketch
Arroyo Seco Path
7″ x 5.5″ watercolor sketch
For more information about my work, please write
One of the most frequent questions I get about my paintings is whether they are all done plein air style (no) and, if not, what I use for reference. Although I do use photos to catch specific details of trees and structures, especially when painting architecture, one of my most valuable tools is my sketchbook. Because my roots are in watercolor, I usually do plein air sketches using that medium. This is a quick way to get color notes and the general layout of a landscape subject without having to fuss with too much detail.
General color areas are indicated with a quick wash. The colors of the shadows can be added when those are dry (and outdoors, watercolor dries fast!)
Using watercolor as a plein air medium has a long history among 19th century painters, and noteworthy is John Constable. His field work formed the basis for his later oil paintings. Eugene Delacroix followed the same practice.
Watercolor painting has the benefit of being quick and portable, and it is a good way to capture the mood with few strokes. Although I love plein air oil painting and do it as often as I can, it’s not always easy to set up an easel. But a watercolor sketchbook can be opened and put to use in a few minutes. A portable watercolor palette, a spray bottle, a collapsible water bucket and a few brushes, some paper towels and I’m good to go. And I can carry a kit in the car so it’s handy at any opportunity.
