Over and over I strive to paint scenes objectively as if there is a single specific correct color for each visual element (and I believe there is). Of course the eyes adjust, as best they can, to bright light just as they do to the dark. Similarly a saturated hue will affect perception of adjacent colors and colored glasses will make a scene appear somewhat monochromatic until we compensate, no longer seeing the overall tint. Painting techniques may mimic visual or mental adjustments and portray a conceptualized view such as purple shadows or green trees. Then too, impressions, associations and inspirations may lead to all manner of depictions. But I like to paint things simply as they appear, without keying values up or down or hues cool or warm and without departure into realms of made-up imagery.

Winter Series #6 ... 48" x 48" ... Oil on Canvas

There is no succeeding on such terms. The challenge has no end. There is always more detail, closer accuracy of light and color. I keep trying… developing the entire canvas, correcting the generalities with which the image began, flowing with the changing scene. But the painting is finished not by virtue of detail or accuracy. Rather, it is as the elements come into dynamic balance that it finds its voice and sings out its being.

Winter Series #7 ... 31" x 46" ... Oil on Canvas

Bracketing this series are two smaller winter paintings. One, showing Larry in his studio years ago, widens the angle a few degrees further North.

Larry in His Studio ... 20" x 16" ... Oil on Linen

The other is an example of what can happen while painting outside in a snowstorm, the paint and snow emulsion giving new meaning to wet paint.

Willow Creek Snowstorm ... 20" x 16" ... Oil on Canvas

Also included is a reminder of the joy of printmaking, a chine collé viscosity plein air monotype of a snowy meadow near my home.

Meadow on the Rio Fernando ... 13" x 20" ... Monotype