Assisi sits on a hill. The surrounding landscape is flat ~ and beautiful. Especially in the late afternoon sunlight. Assisi is located in Umbria ~ today. However in ancient times Tuscany ~ Etruscan civilization ~ covered the region all the way to Rome.
This painting is inspired by this landscape. The light. And St. Claire.
She was accepted and championed by St. Francis. She started the Little Sisters of the Poor at the monestary at Assisi. We visited her room and roof top garden in Assisi.
I’d like to think that her spirit is woven into this interpretation of her landscape. I guess the fact that she was a gardener has me feel a strong connection to her.
Our host Danilo treated us to a tour of the Becattini family olive grove. It was late afternoon and the sun was glowing behind the houses at the top of the ridge. The olive foliage is sage green. In October however, when the other trees are golden, the olives look blue, especially as the sunlight and mist settles down into the valley.
I could paint this view 100 times! I love the way the houses grow right up out of the landscape!
Danilo showed us how he picks the olives, by hand. First shaking the tree, trimming away any damaged branches. The olives are collected in fine mesh nets on the ground. He takes them to an olive press in San Palo, just down the road. The best olive oil,hands down.
Incubation time is so important in developing an idea. I think it is the most overlooked part of life itself. Time to just be with an idea, problem or goal is a very productive way to utilize creative gifts.
In our fast-paced world, we tend to get swept up in a desire to ‘have it all’ right here, right now. When actually if this were to happen we would be unable to cope with ‘it all.’ Thankfully the Creative delivers bit by bit as it is needed.
It’s time to step back and ask when the flow crests and dwindles. In this case, I was working on a series of limited palette paintings and ideas about patterns, light and shadow.
This study helped me establish my composition by focusing on the relationship between the vertical shaft of light coming in the window ~ and the vertical figure standing below it. And it gave me time to be with my questions about light and shadow patterns and how I wanted to express them.
Now it would be really easy to slip into the ‘want it all now’ mode and dive into critiquing the value of my study. ‘Should I fix it? change it? tweek this or that?’
I must admit I entertained this idea. In the long run, it seems a waste of time and energy to go there.
Instead I choose to let it all steep. After a couple weeks, I was ready to explore these ideas further on a larger canvas.
Limited Palette Painting Process
For the larger painting, I began with a cool, neutral-toned panel. To create a mid-value panel, I used a neutral gray with Ultramarine and white that was left over on my palette from a previous day’s painting.
I had prepared several mid-value panels with slightly different tones, one warmer, one cooler, another cooler still. I selected one which complimented my palette ideas for this painting.
To block in the shadow shapes on the mid-value panel, I want to use colors which are the same value as the panel, letting warmer and cooler relationships create depth in the painting.
To do this, I chose a warm neutral yellow to contrast with the cool tones of the under-painting. In the foreground, I then worked warm lavender into these yellows, leaving only the deepest shadows with the strongest yellow.
This established a simple, yet important color relationship that structured my entire painting. Painting within this structure frees me from having too many choices. Instead, I select colors which operate within this framework.
Using a palette knife to mix colors is a clean, quick way to control what is going on with the values and hues in the painting. It is easy to scrape any unused paint up out of the way and set it aside for later. Wiped clean on a rag, no unwanted colors work their way back into the painting without notice.
This housekeeping detail may seem mundane, yet it is extremely important to keep brushes, knives and palette clean. Mud in a painting is caused by dirty housekeeping!
Shadows vs Highlights
To further develop the shadow shapes, I added Ultramarine Blue to the neutral lavender I used earlier. Colors are seen in relationship to what is beside them. It is important to maintain strong relationships between colors in the painting. Using the previous color and adding a related pigment to it is one way to do this.
Another way is to work the color into one below it in the painting. This is done optically by allowing under-painting to peek through, or by physically blending the two together.
Grays vs Pure Pigments
The light areas are developed in a similar way. I used clear colors, rather than neutral colors for the lights. In this case, white with the same yellow ochre without the addition of the neutralizing gray. The key here is that I am using a custom mixed gray ~ not black and white ~ rather a mixture of all colors (red, yellow, blue).
This gray is easily pushed warmer or cooler with addition of pure pigment, in this case the painting moves between Yellow Ochre and Ultramarine Blue. In the lightest highlight, I have added Cadmium Red Light to create the warmth of sunlight.
Limited palette for this painting includes; Custom mixed gray, Yellow Ochre, Ultramarine Blue, and touches of Alizarin Crimson and Cadmium Red Light for warmth in shadows and highlights. Gamblin Fastmatte Alkyd White is a stiff-bodied white which dries quickly, overnight or somewhat longer depending on how much other oil pigments are added to it.