I took this painting to work AFTER I posted it. As is usually the case when I hang a piece in a different environment, I saw some things that needed to be rectified. It only required some minor fixing to give the piece more of a sense of the fog and how it plays with depth perception but I thought it worth another look see. What I did is to push the tree without any leaves more into the fog. I also gave the bush which is right behind that tree softer edges so it was not so pronounced.The wall in the very back I shaved off the top 3/8 of an inch or so. I realized it was too tall and so I think now the perspective is a bit better going down the road. The sky/fog is reading too light so I still need to bring that value down. Part of the lightness is from the photography and how the light is hitting the brush strokes but not all of it. The value in the painting is reading as it should when compared to the photo reference but there are times you just have to do what works best for the painting and I think darkening the sky/fog might be what is needed. I will "sit on it" a bit longer before making a decision.
One of my readers came up with the name In The Name of Blue. If you Feel French about it, Au Nom de Bleu (which echoes Au Nom de Dieu, which is how I got there in the first place.) If anyone has any thoughts on that please let me know. I am never sure how well received French names will be but sometimes they just work!
1 comment:
Good morning, Victoria. Thanks for sharing this serene spot with me this morning!
I did not immediately recognize your hand in this painting. It has a very different feel than most of your landscapes, but I can't really pinpoint why! I'll keep staring and figure it out. (smile)
I disagree that the fog is too light - of course, you were there! When you walk or drive into a fog, it really does have a reflective kind of light that covers everything - it will look whiter and the background will look darker, so I think you nailed this one. It seems like the bare tree has a very defined tree-shaped fog "halo" around it that's a little less natural looking - maybe because the fog came in later? it could be diffused or at least be less directional around that tree.
You know I love the way you play with the light sources; I enjoy how that soft diffusing light that goes from the first lamp pole on the right glows into the dirt, then spreads across the watery road and into the dark grass across the road, and sets the little tree on the right on fire with its fall color. The left side grass and the water in the middle of the road in the forefront reflect the fog screen on the left; but the water on the right side of the road absorbs the darkness of the non-foggy area on the right - very nicely done, very alive with texture. I don't see the light from the post on the very far left, which seems to be facing into the fog...you did an excellent job of showing how the lights down the road and in the valley are swallowed by the fog cover.
You have done well with the perspective of the left-hand fork; but I am confused by the appearance of that "ridge" or lane marking in the middle of the road there. There is a lamp at the back end and a lamp at its origin, but I don't see the light source that makes it a continuous line down the middle; I would expect the center section would be more washed with the darkness of the water and the building blocking its light on the right. I may not be interpreting it correctly....illuminate me (unintentional pun, sorry!)
I like the depths of the mystery of the doors, vines, and shrubs on the building.
This is a peaceful scene brightened with the promise of the dawn that's very worthwhile. I'm glad you took a second (third fourth fifth....) look at it. I so enjoy learning how you develop your work; that makes me feel closer to it. You really need to be in the gallery or museum....
Thanks for sharing. LNB
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