Artists Magazine - USA (2020-04)

32 Artists Magazine April 2020

Build LESSON

The objectiveofthelandscapepainter

is to guideviewersdeepintoa space

through theuseofcolorandcomposi-

tion. I believethatcolorsandtextures

are key toinformingtheseasons—

particularlythetransitionalseasons

from falltowinterandwinterto

spring. Myownappetiteforsilver,

blue andlavender,forexample,tends

to spike aswinterapproaches,while

my desireforpinkandgreenemerges

with theapproachofspring.

In additiontocolor,a composition

that leadsviewersthrougha painting

iscrucial.Inallofthewintryworks

featuredhere,you’llseethatthe

painterhastheviewer“enter”the

scenefromthelowerrightandfollow

a serpentinerouteofascension—

whethera physicalroadorpathor

a visualillusion—ormeanderacross

a flatplaneintothedistance.

Let’stakea lookathowthree

mastersapproachthetransitional

momentsofa changingseason.In

theirlandscapes,we’renotlefttofeel

thebiteofwinter,butmerelya feeling

thatwinteriseitherapproachingor

COLOR AND COMPOSITION

Seasonal Transitions

DAVID DUNLOP shares six works that successfully lead viewers into scenes

that depict transitional moments at the edges of the winter season.

Home at Montclair

by George Inness

1892, oil on canvas, 30x45

STERLING AND FRANCINE CLARK INSTITUTE

WILLIAMSTOWN, MASS.; ACQUIRED BY STERLING AND

FRANCINE CLARK, 1955

just passing. I’ll then share three of my

paintings that show how I interpret

the changeover. Hint: I use reflective

surfaces to create a seasonal glow.

GEORGE INNESS

Early American tonalist George

Inness (1825–94) found inspiration in

the changing seasons. In 1892, late in