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I painted this last summer sitting across the street from one of our local galleries. The most difficult part of this painting, for me, was knowing what to do with that strong vertical tree in the foreground. I chose to leave it in as I wanted to represent  the view the way it was. I decided to use the colors I used in the rest of the painting and describe it in light washes in the hopes that it wouldn’t draw the viewer’s eye away from the building.



  1. Very nice, good choice, I’ve always liked this building, the owner would probably love to see this….

  2. I like the way the tree is integrated into the painting. The composition has a strong sense of pattern that moves my eye across the painting.

    • Thank-you, Liz. It is good to hear that somehow I was able to make that tree work.

  3. the tree provides more depth in the overall view. It lends a flavor of mysteriousness to the painting as you peer from behind the layeer of the tree.

    • Thank-you Nancy Lee! I’m glad you and Liz responded to my statement of difficulty surrounding the tree. I may be in that situation again someday.

  4. There is a lot going in this painting and yet it feels calm and warm. I find it difficult to move away from local colour as you have done with this tree so this is instructive for me. I really like this painting. Stephen

    • Thank-you Stephen. The colour-thing happened for me when an instructor told me to paint something in the secondary triad. I didn’t know what he meant and had to research to find out he was referring to a color scheme. In years since, I have just kept in mind monochromatic, complimentary, and triads and it has helped me to know what darks to use with the local colour I have down. For a while I carried a pocket color wheel with me.

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