Thursday, June 28, 2012

June 25th. "San Miguel Morning" completed

"San Miguel Morning" 9x12 in. oil on panel
$450. U.S.

I'm going to place the finished ones along with maybe some explanation in the initial blog with the "starts"and photos, so they can be compared more or less alongside with the first posting. So check the previous entry if you're interested. You'll also notice that I've posted a price on this one. I'm going to put prices on the finished ones from now on (unless they're first class duds) so they can be purchased outside of the gallery. With tourism in a bit of a slump we're not getting the numbers through the gallery that we used to. I'll post prices on the other recent ones too.


  1. Hi Tom. I think this is one of my favorites...I'm immediately drawn into the shadowy jardin, under the trees...but that's me. I think the shadows on the trees create a circle that move the eyes right around and up light post , which is beautifully drawn and painted. To be honest,though, I have two problems with the final version. First, the tree just touches the Allende building on the corner and creates a tangent, or eye trap, for me. I think it might be better with a sliver of sky between the trees and building , or, if the trees overlapped the building. The other problem for me that the focal point in the original version was looking down Umaran street ; in the final version the light green vendor's cart (?) blocks the view down the street. (I don't think I explained that very well , but, my eye wants to go down that street, but can't. ) I loved your explanation of why you left the cream colored building light and why the sun lit part of the trees has to be lighter than the sky, despite the values in the photo. I think the addition of the people on the left added a lot. Great move to add interest to sunny side of the painting. Overall, this a very successful painting ; rich in mystery and poetry. I wondered whether I should share my few reservations . Donna told me you could take my rude comments. Ginger

  2. Ginger, thanks for your input. You're right of course -if I ever do a larger version of this one I'll try to solve the very bad conjunction of that tree edge and building. I think somebody coined the term "kissing" to describe that effect. I knew it was going to be a problem from the getgo but I wanted the background to figure larger in the composition and the building to play through a little more behind the left gate post. Well, it was kind of a trade off but in the end I think the skylight coming down through and joining with the smaller scrap over calle Umaran would have been the better solution. On the other hand, overlapping the building with the tree a little more would help too - somehow I didn't want to cut off that little blue patch from the rest of the sky any more than it was and I felt the tree was getting too large............ but the bottom line is ......."kissing" really sucks!
    And the vendors cart? Well, I kind of liked the way that slightly different green color played off against the other colors in that area - it was a challenge so I rose to it hoping the eye would go around the obstacle and still be able to "feel" the exit down the largely unseen Umaran. In fact, the reality of the kiss and the cart repulsion happening in about the same location is kind of irksome. Again, I foresaw trouble but as you know "in the heat of battle" doing plein air you don't really want to get too delayed while the light is changing. I go for a bit of compromise on location. I try to get the mood and atmosphere of the scene with a good feeling of authenticity. There almost always end up being little problems with the finished sketch but painting on location is about the most exciting thing I can think of. I only wish it could be half as exciting working the little problems out on large canvases in the studio...............
    Thanks again Ginger, I really respect your opinion and the feed back is appreciated.