Wednesday, December 12,1979

The Herald And The Lantern

PAINTING 4, from, the groiand

Recently, a friend of mine asktkf me to criticize a work in progress as he had hit a snag and needed to see through a fresh eye. The painting, in oils, is a landscape of the beach at low tide, looking towards sea past tidaj pools in the middle ground with connecting streams between. The foreground is open beach. The snag was with the tidal pools; they jumped out from the picture plane rather than appearing to lie

water captured in a gully formed by the rythmic movement of the ocean pushing and pulling sand. Each wave is unique but part of a series which flows endlessly. Ripples in the sand: track of water currents; marks of waves. As the waves shift the sand into patterns, there is variety caused by the contours of the beach; when painting, these contours must be felt before the surface can be described. Also, it is

flat on the earth’s surface. The distortion was obvious enough, the solution more elusive. The pools, though a small part of the whole scene, are nonetheless related to all of the elements within. Understanding the structure of the subject of study is essential even when one is capturing a fleeting moment. A fleeting moment has a size, shape, tone and color. TWal pool; a body of

noticed that the ripples on the beach are in harmony of design with the waves at sea. The waves are governed not only by currents, but also by the wind which caa be witnessed by the shape of the clouds. Also, the sky is mirrored on the surface of the water. And so each part must flt as a puzzle piece. When the subject is understood, it can be modified to suit the

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stretched or shortened In developing the composition; Arks and lights can be accented or played down, and then one can be gin to deal with color. As the sky changes continually due to season, weather, the time of day. so does the appearande of all things below. Any change of the intensity or color of the light means a corresponding change in the shadows. We may readily notice variations in the sky and water but overlook them in the sand: Though appearing neutral in tone, the sand is full of color. Pale ochres and pinks in the highlights contrast with rich Shadows in the blue-purple range. And the wet sand differs from the dry. At water’s edge the color is especially vibrant, the accenting of which causes the water itself to sparkle. These things observed help to unravel the mystery of the vision, seen one by one and in their place within the overall scheme. The artist tries to sort them out and then to tie them all together within a picture of his own construction.

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