Lessons in Landscape Composition from Stonehenge
See how variation in shape size and intervals takes a static subject and makes it more active.
See how variation in shape size and intervals takes a static subject and makes it more active.
What makes a painting special enough to become part of the painter’s “private colletion”?
How can we paint the same subject, again and again, and keep the work fresh and alive?
“Masterfully handled in its reduction of detail.” – Liz Haywood-Sullivan
Three examples from Mitchell’s collection demonstrate how an additional limited focus in the later stages can save a composition.
Eleven paintings from the long running series: atmospheric, luminous, and abstract.
Exploring my passion for a light that glows, these works convey the sensation that the light is real.
Exploring the reciprocal relationship between surface texture and painterly “handwriting,” with examples from Albala, Charles, Haight, and Signori.
How do painters manipulate color, value and edges to suggest light and atmosphere?
“Before” and “after” versions of Salmon Bay show meaningful changes in color and composition.