Directing Sunlight

Landscape artists of the 17^th century fell under the spell of the mysteries offered through directed sunlight and shadow. The painting surface became a platform for theatrical stage lighting. It would influence later stage sets and their illumination just as previously the theater was an inspirational source for the design of landscape paintings.

Artists placed pools of sunlight strategically across their surface to build a sensation of space tripping back into the painting. Dutch and Italian artists of the 17^th century established some of the conventional forms artists use today. Observe Jacob Van Ruisdael’s “Landscape with Waterfall” from 1670 (example 1). We follow the highlighting on the falls which are isolated by dark territories above and below. Then we move toward the illuminated background.  The sky backlights the trees.  The composition has us move through light to dark to light cross-sections as you would move through a shadow box.

Consider a contemporary English painter, Nigel Cooke’s work, “Morning Has Broken” (example 2).  Like the van Ruisdael we have backlighting with silhouetted trees. In contrast the splash of light on the waves and building in the lower left receives light from a different direction. The lighting and some design parallels between  Van Ruisdael and Cooke’s work are observable.  We can see how contemporary artists can refer to historical models and re-invent them.

Example 1. Jacob Van Ruisdael, 1670, “Landscape with Waterfall”,

Example 2. Nigel Cooke, 2005, “Morning has Broken” about 12ft x 7ft.

If we look through Ruisdael’s line of trees we see short vertical notes of light through vaguely silhouetted trees. The light through the distant line of trees appears through  backlighting while the light on the falls appears to descend diagonally from above. I too use the pattern of receding light patches interrupted by the shadowed areas in my examples. I also use backlighting coming through the distant trees to draw attention to the furthest distance.

In “Secluded Sunlight” I have a patch of light in the lower left and the back ground washed in sunlight. Here are two steps in the process of making “Secluded Sunlight” (examples 3 and 4).

Example 3,  step one of “Secluded Sunlight” on brushed silver enameled Dibond,

Example 4. Step two of “Secluded Sunlight” and current state,

In “Pond Life” the setting is more intimate, without a horizon.  The articulation of edge information is almost uniformly sharp because, the landscape is pressed into very close view.  The illumination comes from behind and above. Once again there is backlighting along with a few patches of illumination in the foreground.

Here are three step-by-step examples (examples 5, 6, and 7).

Example 1. Step one of “Pond Life”, laying in color and rough design,

Example 2. Step two, adding a blanket of soft textures to begin to arouse the recognition of the texture of grasses.

Example 3. Step three, current state of “pond Life” an oil on white Dibond,

I invite you to join me in November at Art of the Carolinas, sponsored by Jerry’s Artarama in Raleigh, N.C. I have three one-day workshops. Friday, November 15, it’s “Spectacular Flowers” from 9 to 4, use code FR 1907 to register.  Saturday, it’s Water Scapes” from 9 to 4, use code SA1907 to register.  And, Sunday, it’s “Natural Patterns, Abstracting Nature” from 9 to 4 use code SU1907 to register. Go to artofthecarolinas.com to register.

I have a few openings in my Raliegh, NC workshop at the Centerpiece Gallery.  This is a 3 day workshop covering historical as well as new techniques and ideas. September 11 through 13.  Call them at 919 838 8530 or, contact@thecenterpiece.com

I invite you to join me at an opening of my work at the Attic Gallery in Camas, Washington (across the river from Portland, Oregon) on  September 6^th. Contact the Attic Gallery at 421 NE Cedar Street, Camas , Washington 360-833-9747 or contact at staff@atticgallery.com