18×24″, Golden Fluid Acrylics on sealed, primed hardboard
Email me at JamieWG@aol.com if interested in this painting.

This was painted on location at Boscobel Restoration in Garrison, NY a few weeks ago. It needed a few finishing touches and signing in the studio, which I finally got to do today.

This painting is not an exact scene, but rather a composite of elements that were there at the time. There was a row of cherry blossoms in full bloom that were stunning. There was also a path alongside them; however, that path is actually on the other side of the trees, and runs parallel to the river, rather than toward it. I wanted to switch things around for a change, have the pathway lead the viewer’s eyes to the overview of Constitution Marsh, and bring the cherry blossoms into the painting as well. Fortunately, as artists, we can use our artistic license to have our cake and eat it too!

24×36″, oils on stretched canvas
Email me at JamieWG@aol.com if interested in this painting.

This large spring landscape is of the old Oak tree at Ward Pound Ridge Reservation in Pound Ridge, New York. Unfortunately, the tree was destroyed during a big storm. I really miss its massive presence in the landscape.

28×42″, Oils on stretched canvas
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

Finished at last! This was such a great painting to work on. Those of you who have been following along may remember that my client for this painting sent me samples of her carpet colors to work into the landscape. They were gorgeous rusts, ochres and muted greens. Selecting a specific color palette is a great way to commission a painting that you know will go with your decor!

Here’s a link to the painting’s beginnings, if you’d like to see how I started it.

Here is a link to the color/compositon study for the large painting.

Lastly, here is a link to the plein air painting I did on location. I took my painting gear up on the chair lift!

This is a progress image of the 28×42″ commission I’m working on. It all started when my client and her dear hubby met at Hunter Mountain in New York State! She saw this painting on my website, which I did from the top of Hunter Mountain, and purchased it through RiverWinds Gallery, where I had it displayed.

She decided that she wanted a large version to take up a wall of her dining room, and wondered if I’d be willing to incorporate some of her room colors in the painting, and omit some of the colors of that smaller version that didn’t go with her decor. She sent me these color photos of her carpets which displayed rich earth tones perfectly suited to landscape work, but far different from my usual palette.

Because both the color palette and proportional ratio of the painting were to change for the commission, I decided to do this third painting using the same ratio and colors as the commisioned work, which I posted the other day. (See below the previous post below or click the link.)

From there, I moved onto the full size version of the painting. Here’s the large, white canvas looming before me in the studio:

The first steps were to tone it, place the compositional elements, add the dark areas and pull out the lights.

Then I started going in with color. The first photo in this post shows the current state of the painting. From here I’ll be pushing the lights and darks, adding in more of the colors from my client’s samples, and making adjustments as I go. I’d like to drop that foreground horizon line a touch too….It keeps on creeping up all by itself when I’m not looking!

20×16″, Golden OPEN Acrylics on canvas covered hardboard
Email me at JamieWG@aol.com if interested in this painting.

I was eager to work in a medium that would enable me to layer quickly today, so I grabbed my Golden OPEN Acrylics and a 16×20 canvas covered board for open studio portraiture. I left most of my acrylics upstate, so had to make due with what I had: Cadmium Yellow Primrose, Pyrrole Red, Transparent Red Oxide, Ultramarine Blue, Carbon Black, and Titanium White.

These paints are just sooooo much fun. I prefer them on paper or smooth hardboard rather than canvas, so next time I’ll have to remember to size some watercolor paper or matboard before I go.

Leigh was a really great and beautiful model. We’ll have her for another sitting in January, so I’ll get to sketch her again!

24×36″, Oils on stretched canvas
Email me at JamieWG@aol.com if interested in this painting.

This painting has been a long time in process. It started out with a small monochrome study, followed by a color study, both completed on location. I then did an intermediate stage in the studio at 1/2 each dimension of the large painting. (Intermediate size was 12×18″.)

After a day and a half of working on the large painting in the studio, I took it back to the location a week or so later to work on it outside, where I could gather more information directly from the source once again. I felt lots of things were improved after that session of on site painting, but it still wasn’t finished.

I’ve put in more time on it here and there as it’s sat on the big easel in my studio, and I think I can finally call it finished! Here it is up on my studio easel during today’s session, with the studies next to it for reference. The studies are a progression toward the finished painting, but as you can see, I changed things that I wanted to improve upon in each version.

20×16″, Oils on Canvas covered hardboard
Email me at JamieWG@aol.com if interested in this painting.

You may remember two weeks ago when I sketched Troy in pastel. We had no open studio last Thursday since it was Thanksgiving, but today I went back, oils in hand, for another sketch. I used Rembrandt Ivory Black, Gamblin Torrit Grey, and Winsor Newton Artist Titanium White with a little Winsor Newton Griffin Titanium White mixed in to speed drying. I also used Weber Res-n-gel medium.

Troy will keep the same pose for three weeks, and most of the artists are keeping their spots and working all three weeks on the same painting. I waited until after the posing started for any returning artists to reclaim their previous spots before setting up in a new position, but go figure…. (Yes, you know what’s coming!)… As soon as I got set up, someone came in late and said, “You’re in my spot!”

I didn’t really care where I painted from; I just didn’t want to miss the posing time. There is never enough time with the model! Anyway, this ended up being about two hours of posing time altogether. I always seem to have difficulty getting the head situated exactly where I want it on the canvas. This time, I really took my time with placement and it ended up right where I wanted it to be! Amazing!

I like this model, Troy, very much. We’ll have him for one more week.

This large painting was done on location in Cold Spring, New York over a period of several days. It was pretty windy some of that time, and I thought the painting was going to act as a sail and carry off the entire easel from time to time! I was exhausted by the time the painting was completed, with the long days and long drives over to the location, but it was worth it.

20×24″, oil on stretched canvas
For purchase information, please email me at JamieWG@aol.com.

This is a fall plein air painting looking toward North Salem, across Peach Lake. It’s quite large for a plein air painting at 20×24″, and took several sessions on location to complete.

36×24″, Oils on stretched canvas, unframed
For purchase information, please email me at JamieWG@aol.com.

This large oil painting is a scene painted from a photo I took on Indian Hill Road in Garrison, New York. It is a mostly-unpaved road that leads down to Constitution Marsh. The fall foliage there is always the best anywhere!

For those who like to see things in progress, below is an image of how things began. I worked off both a computer monitor and printed photo, and used them more or less as a springboard to create the painting. I washed the background with yellows to start. This would give the feeling of the light filtering through the fall leaves as I added more layers. Once that yellow wash was on the canvas, I went right to the darkest darks and mapped out the painting in light and shadow.

The image below gives you an idea of how I go about laying in the leaves and colors.