Showing 13–24 of 26 results
Thawing in the Glow
Framed 30 x 38
Spring in the Colorado mountains is alive with the sounds of rushing rivers and streams over flowing with snow melt. As a watercolorist, these scenes shout to be painted. The white paper serves as a perfect format for the endless subtleties in the shadows of the ice, snow and aspens.
Framed 28 x 33
“On a cold winter day at sunset on the Colorado river, a large blue heron appears. These birds are year round residents along bodies of water in Texas. I used the almost dry, river bed as a backdrop for the painting and included the seasons of color and of sepia tones to represent the transcendent presence of the heron’s lookout.”
37 x 26 Framed
I chose the American Kestrel as my subject because of the beautiful feathers. This predator’s natural coloring, a camouflage in the bird’s habitat, portrays God’s wisdom for each of His creatures; Each perfectly suited to their task.
Quiet Winter Shadows
Framed 32 x 40
Nothing seems to reflect light and shadow better than snow. While painting this winter scene I played with the glow of sunlight that creates color in the white of the tree trunks and the snow revealing the reds, yellows and blues everywhere.
Taos Gorge Overlook
Framed 28 x 22
The “Gorge”, formed thru violent eruptions and force, is a transformed landscape of awesome beauty. The sepia tones represent past times melting into the NOW. Not unlike the beauty of a transformed life in the hands of God.
34 x 14
I wanted to capture the feeling of riding the breeze over the river in a row boat. I uses the long vertical format to emphasize the effect of the river’s current. The cool water and green grass and trees were always a summer’s delight.
“Village Worship Remembered”
31 x 25
This scene can still be found in the mountains of New Mexico. I used the local color of the adobe walls and tin roofs with a separate painting behind it in sepia tones to emphasize the village’s heritage of worship.
Evening at the Falls
28 x 21 Framed
I began with wet-into-wet color to tone the paper with the color of the prevailing light against the cliffs. These colors of crimson were allowed to shine through every detail of the painting.