David's Picks
Early Spring
My access to the actual painting is a distinct advantage. I say that because the brushwork in this painting is really pronounced while still supporting the painting as a whole. The water moves you into the painting and past the striking red barn. The barn, undeniably the subject and the focal point, holds the painting in place while your eye moves around it across the distance to the base of the hills. I've been out on days like this, when there is no horizon and no other fishermen!
Repose
I first saw this painting as it opened from Scott's email attachment. Starting at the upper left, the painting unfolded. But that introduction withheld the true composition. The art of composing a painting provides an entry point and a smooth route through the painting, whatever the subject. The pronounced contrast of the dark brazier on the light flokati carpet grabs the eye. The rising smoke leads to the next contrast of the models leg and the dark background beyond. That edge leads up to her face with her right arm moving the eye back down to the green cloth. With the richness of fabric and textures, not to mention story, you've got a great painting. We have a rule. It used to be the 60 Day Rule - a painting had to hang in the gallery for 60 days before I could buy it. It is now the 30 Day Rule.
Lingering Snow
This painting is a surprise, not in subject matter but in content. Cows at a barn seem to lend themselves more often to paintings about barn wood. Here is a painting about the feel, sound, and smell of a living, breathing day that links automatically to your own experience of barns and days in the country - without beating you over the head with detail.