Original 12 x 12 Oil Painting
Signed Certificate of Authenticity
Hand framed in reclaimed wood
Ready to hang
Painted August 2020
Blue Barn came out of a quick paint session when I was trying to solve a very specific problem: green. At the time I wrote, pretty plainly, “I hate green.” The greens I was getting from cadmium yellow mixed with ultramarine or cerulean kept turning muddy, so I added lemon yellow to the palette. That gave me the kick I was looking for.
I pushed this one much harder toward Fauvism and Post-Impressionism. The barn is unapologetically blue, the perspective bends where it needs to, and the trees are almost cartoon-like blobs of color rather than carefully rendered trees. That was deliberate. I wanted the shapes and color to carry the painting instead of behaving themselves.
The actual painting is packed with turquoise, blue and teal, broken up by little punches of orange, pink, yellow and red. Even the dark doorway gets warm color running through it. The rounded tree on the right is probably the least botanical tree I’ve ever painted, but it works.
This was one of those paintings where changing one tube of paint changed the whole direction of the session. Sometimes the solution really is just: buy a different yellow.
Want a print instead? You can find prints of this piece here: Blue Barn.
Original 12 x 12 Oil Painting
Signed Certificate of Authenticity
Hand framed in reclaimed wood
Ready to hang
Painted August 2020
Blue Barn came out of a quick paint session when I was trying to solve a very specific problem: green. At the time I wrote, pretty plainly, “I hate green.” The greens I was getting from cadmium yellow mixed with ultramarine or cerulean kept turning muddy, so I added lemon yellow to the palette. That gave me the kick I was looking for.
I pushed this one much harder toward Fauvism and Post-Impressionism. The barn is unapologetically blue, the perspective bends where it needs to, and the trees are almost cartoon-like blobs of color rather than carefully rendered trees. That was deliberate. I wanted the shapes and color to carry the painting instead of behaving themselves.
The actual painting is packed with turquoise, blue and teal, broken up by little punches of orange, pink, yellow and red. Even the dark doorway gets warm color running through it. The rounded tree on the right is probably the least botanical tree I’ve ever painted, but it works.
This was one of those paintings where changing one tube of paint changed the whole direction of the session. Sometimes the solution really is just: buy a different yellow.
Want a print instead? You can find prints of this piece here: Blue Barn.