I’ve decided to rework some of the pleinair studies I did. I usually just see them as studies of light, or should I say the effect of light, but I want to explore my subjects more intensely and profoundly than the few hours I spend with them when painting outdoors. For this one, I decided to work on top of the existing painting rather than starting a bigger version on a new canvas. I worked from memory and imagination (where the memory fails to recall how the situation was). To be honest, I mainly remember the atmosphere I experienced when painting at the location, so that’s what I’m after.
I wasn’t happy with some things when I came home and evaluated my painting that day. Some colours were too intense, others not intense enough. I was having some serious issues with the trees in the background as well. Again, I used a limited palette (burnt sienna, ultramarine, cad yellow and white). A lot of palette knife work went into it again and I’m starting to feel more confident with it. I just love the texture that you can create with a palette knife. Some things just can’t be achieved with a brush. Here’s how it looks now, I hope you like it.
On a side note, a little story that comes with this painting. As I was setting up and blocking in, a nice man stopped to have a conversation with me. Turns out he lives in the house up the hill. From where I was standing at that time, I couldn’t see the house, so I moved over a little more to the left and put it in. I think it makes the painting more contemporary. It also fit into the composition perfectly with the cornfield on the left and the hedge coming from the right side. What do you think?