Painting Into Fall

On By Margaret Parker BrownIn Uncategorized

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Painting #1 Shenanigan Flat

This is one of my favorite paintings that feels totally me, the style and approach that I truly love to paint in. I am thinking that this scene on the North Yuba river enables me to naturally paint this loose and minimal. For some reason not every scene that I tackle enables me to naturally paint in this style. At this point it is a mystery, perhaps I am at a creative cusp of sorts.

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Painting #2 North Yuba river

I don’t exactly love this one but it was a good in between paintings exercise. Painted saturated wet in wet.

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Painting #3 North Shenanigan Flat

See! Easy with this scene! Drives me nuts how this view enables my inner creative to kick in but with a more detailed view, I turn it off. If anyone have any idea why it falls short when I approach a more detailed view, give me your thoughts. I think I’ll figure it out eventually.

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Painting #4 Mist over Sand Pond

I wasn’t sure if I went far enough with this one, for now I’m leaving it alone.

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Painting #5 North Yuba river

I slap dashed this one hoping for looseness and feeling though the river doesnt “sit down” on the right side as it should, easy fix.

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Painting #6 Of Bullards Reservoir

This one is a bit too tame for me but it does have a glow that I really like.

Happy painting! Have a wonderful weekend folks!

30 thoughts on “Painting Into Fall”

  1. awesome!! love all of these Margaret
    and yes the first wow! I do really enjoy #6 as well it packs Power and might and charisma. yes, it surely does…. have another look, in a few weeks. I think you will be super super pleased with it šŸ™‚

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      1. it was, my FAV of the bunch actually. it is a challenge, to be objective with one’s ‘babies’ – i am either too hard, or too soft on them at first. rolling my eyes. I’ve been SO Impressed with how your paintings have leapt forward recently! your depth, your warm/cool placements, the foliage greens, its all been so improved like – magic! :0

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  7. I think when you are painting freely you are concerned with colour blending and the rheology of the paint, but as soon as detail is required you focus more on form and these other issues take a back seat ( even though they are still employed) I quite like detail, but I notice you are not so keen on it and seem to prefer being more abstract. I havent found any way of combining the two, so I start out loose and then after the initial stage, look to see what structure I need to impose.
    I suppose the only thing you can do is stick to the big subjects which dont need detail which can be good on occasions, but for me would be too restrictive a subject matter.

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    1. Thank you! good observations, I agree, I prefer abstraction, details seem to bore me to death or rather “hem me in”. You are correct, it might seem to be restrictive but I am hoping to master it by taking on more subjects that does have fussy detail (my interpretation), wish me luck! Oh a new word for me….rheology, thank you for that! šŸ˜‰

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  9. I love these. You become more and more masterful, full of confidence — in the art even if you sometimes feel doubts. The detail you featured strikes me as very lovely and it feels abstract too. If you want also to do detail as part of your art journey, perhaps the way is to take the abstraction you love into a smaller focus. Paint the smaller sections of a painting in the same way — with the same freedom that you use to paint the large portions — just frame the section in your mind as though it were itself “the painting.” Does that make sense? Like a window that opens up into another element of abstraction, one that is just smaller, as you go more deeply into the experience, letting it expand in time as it contracts in space. I read this somewhere ….

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    1. Ooh I might have to re-read this several times I think that I know what you mean, in fact I have been reading about Georgia O’Keefe and she had done this in her own way, taking the inner workings of a small section to explore it with paint. I really like that idea, I have been already playing with the idea of painting the depths of the scene to explore the inner environment. I always love to hear what you have to say about the creative process. Never boring, nope.

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      1. Yes, and something like what Georgia O’Keefe did on a large scale you can do on the natural scale of the picture, painting the small inner details freely just as if they were abstract intuitive pictures in their own right …

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  10. Oh, PS, I’m so glad you’re on wordpress! I have been away from my blog lately (busy, busy, busy) but as soon as I get back I find myself wanting to see what Margaret’s been up to … so many incredibly lovely scenes are waiting. And even knowing in advance that I’ll love them, there’s still that sense of “WOW!” when I actually see them.

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  11. These are so beautiful. Here’s my view on why we lose that intuitive, intangible element of a painting when we try for too much detail….and I write this from much personal experience. When we try for too much detail, our mind get’s in the way. It’s when we paint with wild abandon that the magic happens. I always remind myself that the best art is when the artist ‘marries technical prowess with the intangible’ – the key being that the intangible almost takes over when the technical prowess becomes part of who we are… Hope this makes some sense. Happy painting. Janet šŸ™‚

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    1. Yes that does make sense, thank you! My need to walk on the intangible and intuitive side sets me up for disappointment every time when I go into detail. I rather paint with abandon, I know that you do and hearing your thoughts on this is very special. Thank you again Janet.

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