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late afternoon

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Freight at Dusk

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Freight at Duck, Original Painting by Jenny Armitage

Freight at Dusk (16 x 21 watercolor) Available

I drive through Albany on my way to Art in the Valley several times a month.  Crossing over the railway bridge I admire the trains, but there’s no place to pull over and stop.  So last month, I made a point of pulling into the station and walking up the bridge to photograph the trains.   I may do it again at a different time of day.

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Cafe Snapshot

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European Cafe, Watercolor Painting by Jenny Armitage

Snapshot Cafe (watercolor 14 x 23) Sold

 

Despite the lack of canals and only a single bicycle, this is Amsterdam on a summer evening. But it could be anyone of a number of European street scenes.

The title is a bit of a pun.  I painted the picture from a series of snapshots, and girls in the foreground are sharing a snapshot.  I hope the atmospheric nature of the painting has little to do with snapshots.

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Late Afternoon Florence

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Late Afternoon Florence, Painting by Jenny Armitage

Late Afternoon Florence (13 x 22 watercolor) Availabe

Florence is worth visiting just to walk the streets.   The twisting turning little alleys are endlessly fascinating.  The light pours through in dramatic shafts between the buildings spotlighting slivers of streets and buildings.

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Relections in the Late Afternoon

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Gig Harbor in Watercolors by Jenny Armitage

Reflections in the Late Afternoon (14 x 19 watercolor)

This is Gig Harbor, Washington in the late afternoon, though it could be almost any harbor for pleasure craft. I love to do reflections and docks are a great place to find them. In the late afternoon, the water gets almost black and the reflections of white boats become even more dramatic. But it was the contrasting wooden hull of the right most vessel that really caught my eye.

I often delete the names of boats, but I liked the name Simplexity so I kept it in. I”m not entirely sure what “simplexity” means, but my painting is of a complex scene much simplified by the process of elimination, so it seems to fit somehow. The brightness of the light eliminated some detail for me and the deep shadows eliminated some more. I just went with the flow and removed some background boats, a lot of rope, and much hardware.

The real trick was getting the orangey wood of the boat to carry enough to make it the center of interest despite the extreme contrast of the white boats against the blue-black water. To get the orange I wanted I mixed burnt sienna with new gamgee. Then I glazed portions of it with quinacridone Rose Madder and more new gamgee. I deliberately downplayed the flag in favor of the hull. Down in the reflections the flag does become a secondary center of interest.

My palette also included cerulean blue, phthalo blue, and cobalt blue.

I worked without mask this time painting each boat, in tandem with it’s darker less vivid reflection. After I finished the boats I added the water in phthalo blue dulled with burnt sienna.

 

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