another in the tulips series. i was obviously playing with colorfield and referential stylized representation. again in high impasto this painting is based on the spring fields of holland.
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Author: jamesdenne
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this piece is another in my series of high desert works. done in high impasto, it is of a view of the river leading into zion national park. it is a quiet autumn painting. fall in the high desert is marked more by soft yellows and intense blues, foreshadowing the piercing chill of the coming winter.
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this piece was painted just outside the village where my family and i lived in southern france. the garden fields where i stood to paint this scene were between compregnac and the river tarn. it is an amazing place out of time. dolmen stand on the hills above the town, which was probably built on the remains of a roman villa that stood by the ancient ford. that sense of place out of time is the effect that i was striving for in this piece, and tried to keep everything is service of that goal.
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this is another of a series of small ( 22′ x12′ ) paintings i did a while back. in high impasto, they are based on visions of the high desert. when i was working on my mfa in utah, i always loved the play of sage green sage against the sky blue sky and rock. in fact, before moving to utah, i lived in western new york and northern ohio; both very green worlds, and i really didn’t like the color green. absence, indeed makes the heart grow fonder.
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this image is based on recollections of red rock canyon outside of bryce in utah. the red-orange of the rocks against the blue of the sky and the green of the firs made for a most vibrant landscape. this piece is in very high impasto
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this image has a rather interesting history. it originally was part of my senior is project at the college of wooster , where i did my undergraduate work. it started as a piece about the vanishing ohio landscape. i did some sketches of the house and started painting, i went back to get one final sketch before finishing the painting, but by the time i had gone back to do my final sketch, the house had been torn down. i was so chagrined i painted over the house in my piece. the final version had a clear blue sky over an empty field. unfortunatly, after twenty years of bad storage, the image had been damaged and i decided to do a horse painting over top. my friend colleen sacalla really liked this painting when it hung in the ridge st cafe. now instead of making coffee she is raising free range chickens, and we worked out a barter arrangement. horse for chicken. feasts for her eyes and my tummy.
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this is my most recent large work. it is based on memories of southern france, where leona and the kids and i spent a year while she was on a fulbright exchange. it is a lush painting with a lot of my favorite blues. high impasto areas contrast with large flat areas. many layers of glazing really bring out a subtle brilliance and clarity. this would look great in anyones home or business. it is currently hanging in UnCorked on glenn st. in downtown glens falls.
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this is another pretty little piece in my fall series. one of the final ones still available for sale, high impasto and a brilliant palette it was inspired by an amazingly clear autumn day at burnt pond in horicon new york.
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another in the series of small nudes. i really like this one. i thought it was the best of the series, but the fact that it is still unsold, makes me question my assessment. perhaps it is too explicit for people to comfortably display at home? if you have an opinion i’d love to hear it . you can post your thoughts under comments.
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this was the second in a series of eight small nude studies i did with the intention of making large versions at a later date. i was in the studio with esmond lyons when i statred these. they are a bit more yellow and earthy than my usual pallet. the impasto is more general to shape, and not as referential as my usual.
