tag:blogger.com,1999:blog-6476970477541481177.post2173598120787317479..comments2024-01-19T07:29:34.359-08:00Comments on Landscape Painting in Pastels: CHAPTER NINE -- SUNRISE, SUNSETDeborahhttp://www.blogger.com/profile/12576820565521582322noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-6476970477541481177.post-64016764086716755552015-02-01T20:49:08.278-08:002015-02-01T20:49:08.278-08:00ps: Your sunsets are incredibly beautiful. It ...ps: Your sunsets are incredibly beautiful. It makes me want to step into the paintings and just look at the colors!!!Anonymoushttps://www.blogger.com/profile/14370398943089016038noreply@blogger.comtag:blogger.com,1999:blog-6476970477541481177.post-50520366094618065962015-02-01T20:47:47.888-08:002015-02-01T20:47:47.888-08:00I have actually seen bright cherry red to light ye...I have actually seen bright cherry red to light yellow sunrises out in the MS. delta. Is that because the horizon is very flat to start with? Not quite sure. I used to go outside when working the night shift just to see the sunrise. (My break time was typically correspondent with the sunrise time!) Blue was usually the last color to reappear at the horizon after the pinks, cherry reds, oranges and yellows. Out in the delta, one can feel that they are in the middle of a sunrise if there are no buildings or trees around for reference. It's really quite incredible! So.... my question is: Do you paint what's there or (what you can remember in my case) or paint the oranges and pinks and you see them? And when you have a bank of clouds that starts near, but not on, the horizon line and extends past the viewers' line of sight, with variations of the oranges blending with each little bump (hundreds in the one big cloud) that are pretty much the same hues? It was a beautiful sunrise, but the only thing I can compare it to was a sunrise colored bubble wrap with the bubbles all touching! <br />Thanks so much for this chapter. It's as though you searched my mind and hit on most all of the questions I've had!Anonymoushttps://www.blogger.com/profile/14370398943089016038noreply@blogger.comtag:blogger.com,1999:blog-6476970477541481177.post-10236691825147805352011-07-13T12:59:19.868-07:002011-07-13T12:59:19.868-07:00Thank you for this chapter, it is a must read - fo...Thank you for this chapter, it is a must read - for me, several times over as I learn to paint sunsets and sunrises. You are pushing us to analyze what's in front of us when looking at skies. I know that the information contained herein is going to help me further my paintings.Maryhttps://www.blogger.com/profile/09810179019002851017noreply@blogger.comtag:blogger.com,1999:blog-6476970477541481177.post-34948279569364998912010-04-07T21:23:14.873-07:002010-04-07T21:23:14.873-07:00Thank you for making this point! It might take som...Thank you for making this point! It might take something of incredible virtuosity to overcome jurors and galleries' objections to the subject, but I also remember seeing some incredible sunsets and sunrises out in Jackson Square among the street painters. Every one of them was different.<br /><br />Some were a bit formulaic, but far more often I saw the good painters hang a dozen different "dawn in the bayou" paintings with their egrets and/or alligators... and every one of them unique, every one of them brimming with light and color that came from a different season, a different place, a different time during the morning. <br /><br />For a street painter, doing sunsets and dawns in the local scenery is something that will always grab the tourists. But doing it in a formulaic way quickly bores even the most prolific street artist -- especially the most prolific ones. So they'd turn to variations, to direct observation, to playing with the more interesting mornings and evenings they've seen rather than just doing the same red-orange sky with black silhouettes.<br /><br />Yours are absolutely stunning and unique. Very different from the sunrises and sunsets I saw in Colorado or New York or even here in Arkansas. At the same time of day when the camera turns everything to a black silhouette, there's often instead a rich deep blue like an ultramarine monochrome of everything in shadow, or a rich blue-violet monochrome that goes up to mid-values. That bluing always fascinated me too, that stage of the day when you have value and have lost all but one of the colors.<br /><br />Thank you so much for this chapter!Anonymousnoreply@blogger.com