Changing Light

"Whiterock Morning," oil on panel, 9x12

One of the things we commonly read is that the Impressionists--mostly Monet--only worked on each painting for a few hours a day because the light changed too much. That's certainly true for me as well. Most times when I've worked outdoors I find that completion of a standard-sized 9x12 painting takes up to 4-5 hours but the light changes so much that I usually come back for a second look. 

"Whiterock Afternoon," oil on panel, 9x12

That's precisely what happened with these paintings from my time at Whiterock Conservancy, a couple of years ago. In each case I spent two sessions trying to capture the light on a favored vista. The first, a morning work, is based on having the low morning light cast on the hill beyond a small river. The light is warm and full, making the green hill look yellow-green and highlighting the wildflowers on the river bank in the foreground. 

In contrast, the afternoon painting was made with sunlight streaming left background to right foreground, giving the hill and wildflowers a completely different appearance. The foliage in the foreground is slightly darker because of the shifted light, and only certain clumps of flowers catch the changed angle and intensity. 

Retrospectively I wish I had taken time to do several more views of this or another motif to specifically see how the light intensity and angle alter physical appearance.