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OUTDOOR PAINTING DEMONSTRATION
by James Gurney

He created this painting a few days ago at the Seventh Annual Great Rhinebeck Paint Out.
Our thanks to James for allowing us to reprint this demo from his blog.
See his interesting and informative blog at:  http://gurneyjourney.blogspot.com/

JAMES GURNEY

JAMES GURNEY  

It was a crisp sunny day, a little past peak fall color, with a temperature around 40 degrees F. I'm a wimp, so I had full long underwear. I'm using an Open Box M pochade box.


JAMES GURNEY
 

First, here's a photo of the motif: a view to the east of the village of Rhinebeck. It's a very busy subject, but I like the strong leading lines of the road and the soft gray mass of trees in the center.

JAMES GURNEY
 
I started on an 11x14 sky panel, oil primed with a blue gradation. The blue color helped in two ways. First I had an approximation of the sky color already established with dry paint, so I could work delicate detail over it. Also, the blue was a nice complementary color to lay beneath the warm autumn-colors.

The first step was to draw in the main lines and shapes with a bristle brush and burnt sienna oil pigment. Note the horizontal eye level line, even though I can't see the actual horizon. The brown dot in the middle of the road at right center is the vanishing point for the sloping street lines of the foreground.

JAMES GURNEY
 

I oiled up the sky with Liquin to make it more receptive to overpainting. I put in some light feathery cirrus clouds, and a pale glow along the horizon. Then I started softly stating the dry branches. and other details against the sky.

JAMES GURNEY
 

At this stage I needed to figure out the overall light statement. At first I planned to put the foreground in shadow, but that left the middle ground too busy with competing interest. So I established an illuminated foreground, shadowed middle ground, and light distance. This gives a feeling of passing clouds and draws interest to the activity of the far intersection.

JAMES GURNEY
 

I carried the lines of the road to that vanishing point you saw earlier. For lines like this I used a mahl stick to balance my hand.

JAMES GURNEY
 

Here's the finished painting "Light at the Crossroads." The 3 o'clock deadline was looming, so I scrambled to resolve the unfinished areas. On the left side, the houses are stated fairly broadly, which in the end probably helps accentuate the confetti of the intersection.

JAMES GURNEY
 

By 4:00 it was hanging at the event space. It's behind the light, next to the painting of Vanderbilt I did with Erik Tiemens last summer, reworked on the spot last week with fall colors. A painting by Keith Gunderson is below mine.

Please visit James Gurney’s website at http://www.jamesgurney.com/



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