Wednesday, February 19, 2014

Plein Air From Pigg Farm

Latest plein air painting and a story about a good puppy-dog. Last weekend I joined several other OPS members for an afternoon of painting at a farm near Maypearl, Texas. Windy but beautiful weather. The farm had lots of subject matter to choose from with two or three barns, an old abandoned farmhouse, and rolling plains. And to keep us company, a friendly puppy-dog that apparently lives there by herself. I was told that a Mr. Pigg feeds her daily but from the looks of the giant food dish on the front porch, it's probably more likely a weekly thing. Anyway, this dog was clean (considering his circumstances), well-mannered (as in no jumping on you), and probably needing a good home since she wasn't wearing a collar. But I'm not sure what her situation is. I'm thinking she would probably not be very happy in a small yard considering her current status as a free ranger with rabbits to chase and lots of room to roam. But I fear that she is not long for this world with coyotes lurking, or just the lack of veterinary care. Kicking myself for not taking a picture of her. About 45 pounds, lots of fur and tan to yellow/white in color.

Oh, and the painting... I call this Pigg Barn because I was told that this property belongs to Mr. Pigg. 9"x12" oil on gessobord.

Monday, February 17, 2014

#146 Texas Longhorns

12x16 oil on canvas panel



Thursday, February 6, 2014

#145 The Blackest Land, The Whitest Roads

16"x12" oil on canvas panel - studio piece
Here in this part of north Texas we have a soil type that is referred to as the "blackland prairie" for obvious reasons. It truly is black in color. Years ago in Greenville, which is about 100 miles to the east, there was a sign at their city limits that welcomed visitors to "the blackest land, the whitest people." Political correctness has since done away with the sign since the "whitest people" part might not be taken in the way it was originally intended which, in Webster's definition, meant: of good character marked by upright fairness <that's mighty white of you>. Understandable that it no longer exists, no doubt... I get that. But I'm pretty sure that the racial overtones weren't intended back in the day. The interesting thing about our soil, and the reason for the title of this piece, is that it sits on a bed of white limestone just a few feet down which makes for intense contrasts where exposed. I tried to represent this union of opposites in this painting, with the plowed fields next to the limestone dirt road winding around the tree.

Sunday, February 2, 2014

#144 Calf Romp

I painted Calf Romp from one of my photos taken while exploring a cattle farm near Waxahachie. I've completed three oils from these photos so I can safely say that this was a productive afternoon of searching for subject matter.

The actual photo was focused on a barn to the right. Looking at this photo later I noticed the beautiful late-afternoon light on this calf's face as it romped almost out of view. 

I will probably enter this image, along with three others, in the National Cowboy Museum's Winter Art Show. I've never entered this show before but I would love to get in. 


Saturday, February 1, 2014

Revisiting An Older Painting

This was originally done about 60 paintings ago as a 12"x16". I decided that it might be a stronger painting if I cropped out the foreground since I didn't find it interesting and really added nothing to the work other than to make this a larger painting. This is one benefit to using panels rather than stretched canvas. You can crop a stretched canvas but you have to glue it down on a panel afterwards. Here it is, now as a 9" x 12" oil on canvas, resigned:

#83 Langford Ruins - 9x12 oil on canvas