daily painting titled Towards Mormoiron

Towards Mormoiron

20cm x 12.5cm, oil on board Painting status: SOLD
Daily painting for Monday 16 June, 2014
Posted in Landscape paintings


Such a beautiful vibrant little painting. And do those cherry trucks spell cherry paintings soon?
A brilliant example of pictorial transposition: get to the point, make choices, consider the main thing; no distinct leaves, no details in the shadows, no hatchings. Wide brushstrokes, some "happy accidents": dots of red and blue close to and in the vineyard. Broad flat tints, a single touch of red suggesting a house that is the focal point, that same touches of red we find too under and along the vineyard leading our eyes to the background, blurred outlines of the trees in front of the sky, same blue used for the shadows of the road, for the mountain and for the sky, but of different tones provoking the atmospheric depth, the solitary touch of light blue through the foliage that leads our eyes towards the warm green of the vineyard and finally, that enigmatic tiny point of black in the sky... maybe a diurnal bird of prey. An emblematic landscape.
Hi Julian, Just loving those beautiful blue and brown greens, as I work to remember all the green lessons from our workshop..and the musical brushstrokes that dance with the heat and sun of the morning while you painted... Elegant, to the point, so lovely, a perfect little poem..thank you as always
Hi Julian this is beautiful thoroughly enjoyable to view and to study. I am envious of those who have been able to be part of a workshop with you. The mix of cool and warm tones of green are fabulous , love it all. Thanks Alain great description. Thanks Craig
Dear Julian,love the vigour of the brush strokes,Provence is really deep in your heart. Alain,your comment or analysis was a great pleasure to read. Thank you dear Craig S for your kind words. Anna.
Thanks Craig S. Why sometimes do I make a technical analysis of julian works? Because there is always more than a pleasant picture; there is what motivates the artist to take brushes and palette. This is what I like to detect: the "unexplainable" alchemy, the hidden grid, the virtual lines, the "happy accidents" mirror of the artist soul... But I am very careful not to analyse technically too often because an artwork must also keep its secrets: as out of respect for the painter. At last, when I technically comment, I become...my own student!