Fall Trees

30x40 Acrylic on panel, © 2007
Private Collection

Up close and personal, closed landscapes have always been appealing to me to paint. In this painting I have experimented with interference colors. The photograph doesn't do well with these. The colors are milky when applied, but when viewed at an angle they have an opalescence with a tint of gold or red depending on the color I used, and when photographed they appear lighter. It creates an interesting effect and gives the painting a dynamic effect from whatever the direction.

Little Sioux Sunset

11x14, acrylic on panel, © 2007
Private Collection

Marge and I went to Little Sioux for Young Women's Camp parents night. We don't have a girl that age, but we did have Young Women from the congregation there. On the way back through Little Sioux, the light struck me, and I backed up a country road to the place I saw the light. It wasn't quite the same as it was seconds earlier—light disappears quickly at that time of day. I snapped a photo. Then at the Judy Greff workshop I painted this piece. I didn't quite get it finished in the two-day workshop. At the daily critique Judy said that she did not know what advice to give me to complete the work other than "spatter the 'Heck' out of it." I did that and several other things until I arrived at a solution that pleased me. The tree on the right was painted first and worked wonderfully well. The left part of the composition became my battleground.

Heritage Still Life

8x10, acrylic on panel, © 2007
Private Collection

Once on a business trip to Nashville, Tennessee, I saw an artist's shop next to the hotel where I stayed, and what struck me was the luscious paint—brilliant and shining. I have come to better be able to achieve this feeling of opulent paint. Painting on panels is one element, but also using a heavy coat of gloss varnish is another.

This painting was finished during the Judy Greff workshop. She uses a spatter technique very effectively, and that is what I wanted to learn. She also wanted us to paint from a still life. So in the morning hours, I took a picture of some objects and took the photo to class. Judy suggested pouncing over actual lace to get the doily effect. I tried it, and it worked great with some lace that she had. I also used the spatter technique which accentuated the antique look. I haven't done still lifes since college days, but it was a fun piece to do.

Little Sioux Scout Ranch

11x14, acrylic on panel, © 2007
Private Collection

I went as a security person to the Young Women's Camp—this time during the day. Walking up to the lake I saw this light and took a photo.

I later attended a 2-day workshop with Judy Greff. I have admired her work for some time, and the opportunity presented itself to attend. I have been experimenting with painting on black-gessoed panels, and so this is one example. Judy asked that I paint it this way as a demonstration of another technique for those attending the workshop.

Mo Valley Tree

16x20, acrylic on canvas, © 2007

Private Collection

From one direction on Interstate 29 I took a photo that resulted in "Morning on the Missouri River Flood Plain." From the other direction was the "Mo Valley Tree." When I painted the scene, there was something missing. I found that it was the white farm house so prevalent in the Heart Land. I saw the house hidden in the tree and just made it come out. It added an element of human domination.

Loess Hills

18x24, acrylic on panel, © 2007
Collection of the Artist

Loess Hills were created from glacial action during the last ice age. The glacier would push soil before it as it progressed, and then it would retract—and the next season push more material up. There is no rock here, just clay. Hence there are only two places in the world where this phenomenon exists. Loess Hill of Iowa and somewhere in China. They are are a beautiful place to drive through. This was near Little Sioux on a magical morning in June.

Recognition: Exhibited in the 2007 Omaha Artist's Fall Show where it received an Honorable Mention.

Judge's Comments:

• Painting technique is excellent, and the brush strokes are free.
• It has nice contrast and use of atmospheric perspective.
• Subtle details in the tree rather than making it a black silhouette.
  
• The asymmetrical composition makes it work.

It reminds me of an early group of New England artists—part of the American Impressionist school—artists like William Merritt Chase.

Wild Flowers

8x10, acrylic on panel, © 2007

Private Collection

An outing to Lauitzen Botanical Gardens yielded many photographs. This one struck me for the color and—Oh yes—flowers. Practice may make perfect.

Loess Hills Sunrise

16x20, acrylic on panel, © 2007 

Private Collection

That magical morning returning from the Loess Hills became the source for various paintings. 

Recognition: This one was painted to be displayed at the 2007 Omaha Artists Desoto Bend Nature/Wildlife Show where it received an Honorable Mention.

Judge's Critique

Design & Composition: !

Technique & Use of Media: Excellent

Use of Color or Value: Subtle

Judges comments: Excellent paint handling—sensitive, subtle. Very physically deep composition. I enjoy the way that the strokes in the sky refer to those in the trees. “Half and Half” composition—very effective—pulls one through the composition.

Chrysanthemums

30x40, acrylic on studio canvas, © 2007

Private Collection

Marge has wanted me to paint flowers for the kitchen for years. We had a decorator come over and say that what we needed was flowers to bring the outside inside. We bought a print and had it framed and put it up. It never really did anything for me, and we gave it away. With this idea of having a large flower painting in the offing and Marge being a flower gardener I took some pictures in 2006 and decided to try my hand at flowers again. After painting Southwest Flowers, I had this idea in mind.

The concept was so clear in my mind, but the canvas became my battle ground.

Missouri River Overview

16x20, acrylic on canvas, 2007
Private Collection

Marge and I went to Macy, Nebraska—that is the reservation for the Omaha Tribe. This overlook was on the way. It was near a sacred spot of the Native Americans. I took a picture and later I applied to be an instructor at Michael's Arts and Crafts store. I was accepted, but my time has not been so that I could fulfill it. This painting was done as a piece that I could teach people to paint and would be used as a promotional painting.

Morning on the Missouri River Flood Plain

11x14, acrylic on panel, © 2007
Private Collections

I went to Little Sioux, Iowa as an overnight security person for Young Women's camp—over 100 girls 12-18. On the drive back the next morning at sunrise the light was so beautiful that everywhere I looked I saw paintings. I had already taken some pictures coming out of the Loess Hills, and when I was on Interstate 29 at 75 mph, I saw this one and could not deny it.

I have also found that I like painting on panels more that canvas. I gesso them myself, and the smooth-toothed texture and firmness of the panel appeals to me.

Southwest Flowers

24x36, acrylic on museum canvas, © 2007

Private Collection

I am always up for a challenge, but all I can say is that flowers are my nemesis. So beautiful and so difficult. This was painted from reference photos.

A Quiet Place

24x18, acrylic on canvas, © 2007
Private Collection

When a friend heard of my daughter's painting of a special place, she desired such a place, and this was painted to fulfill that desire.

Commission Sketch

16.125x31.25, acrylic on panel, © 2007
Collection on the Artist

This is a piece that I put together as a concept for a larger piece that would have had gilded sides with a rainbow of colored glazes and words written on the sides around the piece. No frame would be necessary. Only the left pane was completed from this original design.