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Bill Wray
02-26-2006, 10:17 PM
I recently reworked this Plein Air from Cambria (6x8 oil), some you you may remember it from my old thread" Cambria Painting Diary." I also did a larger studio version. I like the big one (16x20 oil), but I think as usual the small version is just a little more juice. I posted the two of them in the Studio Paintings from Plein air References Forum. I'm posting the Plein Air only in Plein Air to entice people to go over to the quiet world of SPFPAR.

http://www.wetcanvas.com/Community/images/26-Feb-2006/65633-Green_Valley_Road_Study_6x8_copy.jpg


http://www.wetcanvas.com/Community/images/26-Feb-2006/65633-Green_Valley_Road_16x20_copy.jpg

Marcella B
02-26-2006, 11:05 PM
Bill, worth coming over to take a look, I like them both. The field seems to rise up on the first one, it almost has an abstract look, great job on the highway, very interesting. The field lays down in the second one. I really like the little human touches you put in your paintings, like the van or truck coming up the hill.
Marcella

metalhead
02-26-2006, 11:15 PM
I like the way the cool blues and greens contrast with the warm browns, oranges and yellows. Probably the contrast is greater in the 2nd one, but the first one has a subtlety to it that is appealing. I especially like the colors in the lower right hand corner of the 2nd one, and how they fit in with the rest of it. The sky in the first one is a lot smoother -- well, you can see that much yourself, and no doubt have. (I'm fresh off my own battle with the sky, so maybe I'm sensitive to it.)

Chouchou
02-27-2006, 12:35 AM
This could be my favorite Wray to date! More complements for complements delivered already ... So, I'll add my voice: the contrast between the warm sunlight and the cool shadow is just delicious, so are the touches of warm light on the mountain. Values in the shadows seem perfect to me ... and all of it looks so enviably effortless.

The next thing I write, I do so with great humility ... after all, I've got a long ways to go to achieve anything so accomplished. But even if I don't have taste, I've got eyes ... so, here goes:

The sky in the second one is the only thing that struck me sideways ... somehow, that active texture doesn't rest well in my eyes. Maybe because the work's other strokes are so languorous, but the sky's brush strokes are the only pizzicato notes in the piece?

Chouchou
02-27-2006, 12:37 AM
By the way ... would you consider posting a WIP? I'd love to see how you work!

Bill Wray
02-27-2006, 12:39 AM
Bill, worth coming over to take a look, I like them both. The field seems to rise up on the first one, it almost has an abstract look, great job on the highway, very interesting. The field lays down in the second one. I really like the little human touches you put in your paintings, like the van or truck coming up the hill.
Marcella
Thanks Marcella, I'm trying to put people and cars in more and more. I do think it gives a little extra life. I took a cue from Trevor Chamberlain on that.

Bill Wray
02-27-2006, 12:47 AM
I like the way the cool blues and greens contrast with the warm browns, oranges and yellows. Probably the contrast is greater in the 2nd one, but the first one has a subtlety to it that is appealing. I especially like the colors in the lower right hand corner of the 2nd one, and how they fit in with the rest of it. The sky in the first one is a lot smoother -- well, you can see that much yourself, and no doubt have. (I'm fresh off my own battle with the sky, so maybe I'm sensitive to it.)

You may have a point. Part of the problem is the scan makes the yellow a bit harsher than in the original making it contrast with the grey more. I don't think I have a good reason for the broken color effect anyway. I just did it to do it. Not always idea to put busy next to busy. (Next to the mountain stroke I mean.)

Bill Wray
02-27-2006, 12:59 AM
This could be my favorite Wray to date! More complements for complements delivered already ... So, I'll add my voice: the contrast between the warm sunlight and the cool shadow is just delicious, so are the touches of warm light on the mountain. Values in the shadows seem perfect to me ... and all of it looks so enviably effortless.

The next thing I write, I do so with great humility ... after all, I've got a long ways to go to achieve anything so accomplished. But even if I don't have taste, I've got eyes ... so, here goes:

The sky in the second one is the only thing that struck me sideways ... somehow, that active texture doesn't rest well in my eyes. Maybe because the work's other strokes are so languorous, but the sky's brush strokes are the only pizzicato notes in the piece?

See my answer above to Metal... I've carefully adjusted the background in Photoshop to match what the original looks like. It may still be to pizzicto for you, but I think it is better.
http://www.wetcanvas.com/Community/images/27-Feb-2006/65633-Green_Valley_Road_16x20_copy.jpg

mnpainter
02-27-2006, 11:08 AM
The compo is awesome but some eye strain for me that is when I get to the sky. To me it seems off, But I really like the foreground cools juxtaposed to those warms, very effective.

Ben

emogirl
03-18-2006, 01:30 PM
I like them both very much - really completely different paintings....the second one, I have to agree with Ben, the sky is 'off'....