Below are some paintings from my week here in Italy. I was supposed to be on the lakes up North this week, but I got rained out. Here in Tuscany the weather is a bit more summery, even if there is an early Autumn chill in the air (and we’ve had a few days of rain here too).
San Gimignano. 20 x 30 cm, oil on panel.
I lived in Florence for 20 years and never painted the classic, postcard view of the Duomo. I also spent my summers about 20 minutes away from San Gimignano and never painted the towers. I thought this year I would get them both out of the way.
Tourist Stands, Piazzale Michelangelo. 20 x 30 cm, oil on panel.
Most of the time I stayed in the countryside working on this larger piece:
The Mulberry Tree. 90 x 110 cm, oil on linen.
I’m hoping for one more day of sun to finish, but it’s not looking good.
Here is the sketch:
Mulberry Tree Study. 20 x 30 cm, oil on panel.
And in the evenings I painted a series of sunsets from the house:
Here, quickly, is a turban portrait I did last month during the overcast and rainy days we had on Korčula. It’s for a turban/hat-themed group show this fall at Ann Long Fine Art in Charleston, SC.
Below are a few of the sketches we tried with various styles of turban. The one we settled on was bought on Ebay, and shipped from Turkey. I had actually wanted a more Venetian-style turban, as it fit with our setting, but getting these things right is more complicated than one would think. These paintings were all done in one sitting with very unsuitable light. We were on a terrace with only reflected light off of the garden around us. It’s always interesting trying new lighting set-ups, though having one strong light source makes for a much simpler painting experience.
Pelješac is a peninsula in Southern Dalmatia and it’s probably my favorite area on the Croatian coast. While there are other islands and areas with more beautiful cities, they also tend to get a lot more of the cruise-ship crowds. Pelješac manages to have more of that slow-paced beach feel to it, and the people seem much friendlier. They also make the best red wines in Croatia, and the food in general is excellent (they have these great little oyster stands by the side of the roads with the local Adriatic oysters).
Ston, Midday. 30 x 20 cm, oil on panel.
Church in Broce. 32 x 23 cm, oil on panel.
There is a wide variety of subject matter on Pelješac, as there are relatively high mountains on the western side, whereas the eastern part has a much more gentle slope to the sea. Though the towns may not be as postcard-perfect as the other places along the coast, they are still exceedingly picturesque for painting. They are also very small, and the views are concentrated. When one is scouting with equipment in the August heat in Southern Europe, smaller is better.
Street Barbecue in Mali Ston. 30 x 20 cm, oil on panel.
Here is a quick, 30 second, timelapse film taken over the course of five days while working on my large plein air landscape painting of the village of Vrnik. I was standing on the island of Korčula, across the small channel seen in the painting. The footage is of five days, but I was actually there six, and I have no idea what happened to the photos from the sixth day, sorry.
Below is an image of the final painting.
Vrnik. 70 x 90 cm, oil on linen.
It was a great spot to paint as I could stand in the shade the whole time. Also, in the painting I’m looking east, so the shadow of the tree is pointing north. This allowed me to work for up to six hours a day without the effect changing too much. The only really dramatic change was the sun came around and put Vrnik in full sunlight, whereas I wanted the buildings to be half in shadow for the effect. In the afternoons I could work on the foreground and the water, provided the wind didn’t get too strong. Finally, the clouds did the same thing, with only a slight variation, almost every day.