A tribute to the great landscape painter, Bill Alexander.
There is something about expansive scenes that I really like painting. With these scenes, the challenge is to create as much depth as possible. I hope I succeeded with this one.
The basic composition is based on a painting by Bill Alexander called “Steel Lake.” Alexander’s painting, however, was monochrome; mine is in color. While I was painting it, I thought a lot about one of my cousins who loves to hunt. He’s been everywhere, it seems, and I could see him in those hills hunting deer. It was a good thought to have while painting this one.
The sun, out of view to the right, illuminates only half of this solitary island, bringing out an array of colors and life; the shadow-side is accentuated by the dead bush.
It was fun painting this composition, especially with the challenge to make the sky deep and the mountains distant.
Here’s another painting I did for the online class I’m taking with Tom Anderson. My goal with this one was to really capture the moonlight reflecting on the mountains, across the water, and into the foreground. And I have to admit: I like the shooting star, too.
I designed and painted this mountain scene based upon (1) the landscaping laws I was studying in the Alexander Art Master Class and (2) an introductory painting that focused on using a limited palette: red, yellow, and blue (though I added green to the palette for this painting).
Up until this painting, everything I had done had been based upon other artists’s compositions. That’s not only necessary during when you’re just beginning, but it’s absolutely essential to the learning process; all great painters learned to paint by copying the work of master painters. But “Pastel Mountains” is an original composition — my first. It turned out far better than I anticipated. I hope you enjoy it.