Texas Spring (study for commission)

Texas Spring (study), 12 x 16, oil on panel, L. Daniel © 2019

SOLD

Back in the spring, I was commissioned to paint a "classic Texas" scene. What did that include? Well, live oaks and bluebonnets of course, but there was also a request for some TEXAS LONGHORNS! If you follow college athletics, especially football, you will have heard of Bevo, our beloved Longhorn mascot at the University of Texas. This painting was to be a gift for my client's husband, who is an alum. I totally "got it"... why it was important, why it had to be. This is Longhorn country and I am a fan, so I happily jumped right in! 

The first thing I did was to find a local ranch where I could study an actual herd, and take pictures from lots of angles. I had a lot of fun on that mission, and this field study became the jumping off point for the commission piece that came later. My next post will be all about the process of a commission, and how this one came together. Please stay tuned! 

___________________________

2020 PLEIN AIR WORKSHOP INFO:

March 30-April 2, 2020 - Wimberley, Texas

April 16-18, 2020 - St. Simons Island, Georgia

May 8-9, 2020 - Austin, Texas

SEE DETAILS ON MY WEBSITE: laureldaniel.com 

Swirling Vines - with process shots

Swirling Vines, 12 x 16, oil on canvas, L. Daniel © 2017

Collection of the artist

The Georgia coastline and St. Simons Island are known for their huge Live Oak trees draped in Spanish Moss. I love them so much (and have since my first encounter), AND I find them very challenging to paint. There is just so much going on... this one was especially complicated, with tangled vines wrapped all around its multiple trunks. 

Below is a photo of the scene and some process shots. You can see that I simplified the background quite a bit, a necessary sacrifice in order for the tree to emerge. One thing I have learned along the way is that you can't have it all! ;) (That is true for a lot of things, isn't it?)

Setting the scene... the tangled tree in a grove of Live Oaks.

In my initial sketch, I tried to establish the movement of the vines.

As the painting progressed, details came and went... and came back again!

When the light peeked through, I popped in highlights and final marks.

That moss? I dragged it in at the very end.