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Looking Towards Home

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Looking Up Towards Home, Original Watercolor by Jenny Armitage

Looking Up Towards Home II (watercolor 13 x 19) Sold

Walking home from a morning walk in the woods we looked up the hill towards our house into magical morning light.  I’ve done my best to capture that light in this pair of paintings.

Looking Up Towards Home, Original Painting of Light Through Trees by Jenny Armitage

Looking Up Towards Home I (watercolor 13 x 19) Sold

These paintings have sold, but you can still purchase prints here.

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The Heart of Salamanca

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The Heart of Salamanca, Original Painting by Jenny Armitage

The Heart of Salamanca (watercolor 19 x 23) Available

This is early morning on the Plaza Mayor in Salamanca, Spain.  In a couple hours the Plaza will be full of umbrella tables.  But right now the coffee drinkers are inside enjoying the warmth.

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Morning in Toledo

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Toledo Morning, an Original Painting of Spain by Jenny Armitage

Toledo Morning (watercolor 14 x 22) Available

The streets of Toledo are shaded by canvas sails and lit by hanging lanterns.

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Fog Over Croisan Valley

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Fog Over Croisan Valley, Original Painting of Salem, Oregon by Jenny Armitage

Fog Over Croisan Valley (17 x 23 watercolor) Sold

This painting is a little closer to home than most of my recent work.  I see this view every morning on the way home from my walk down Croisan Scenic Trail.  The trial occupies a long thin, Salem park with our neighborhood a hundred feet above it and Croisan Creek a few hundred feet below it.  The path is beautiful in all seasons and rarely feels nearly as close to town as it is.   It’s particularly evocative in the fog.

This painting has sold, but you can still purchase a fine art print.

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Morning on the Saint Charles Bridge

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Morning on the Saint Charles Bridge, Watercolor Painting by Jenny Armitage

Morning on the Saint Charles Bridge (17 x 23 watercolor) SOLD

Prague’s most famous landmark, the evocative Saint Charles Bridge hums with tourists in the afternoon.  In the morning it is quietly beautiful.

This painting has sold, but you can still purchase a fine art print.

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The Art Institute of Chicago

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Witing for the Museum to Open, a Chicago Painting by Jenny Armitage

Just Before the Museum Opens (watercolor 17 x 22) Available

I love city light.   The shafts of light created by openings in the tall buildings, the reflectivity of building and pavement, and the flat surfaces for shadows all lead to one thing—drama.

This particular drama is the long shadows and the warm glow of  a Chicago winter morning.  The crowd is up early and waiting for The Art Institute of Chicago to open up.   The crowd and bus hide one lion, but the other can be seen peeking out from behind the traffic light.

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Dawn at the Station

Dawn at the Station, fine art painting by Jenny Armitage

Dawn at the Station (watercolor 16 x 23) Available

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Changing in Milan

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Milano Centrale, Watercolor Painting By Jenny Armitage

Changing in Milan (14 x 21 watercolor) Available

In our month long odyssey to Europe last year we had only one really long travel day, but it was a dozy.  We left London in morning  to take the train to Paris.  We boarded the train without a hitch and ate lunch as we emerged from the channel tunnel in France.  We walked the streets and had dinner in Paris. Then we boarded the night train Milan.

I’ve heard mixed reviews of the night train, but it did well for us.  Our cabin mate was a gorgeous young Frenchmen who man managed to be both chivalrous and bashful at the same time.   The cabin was spacious and the bunks comfortable. We agreed to an early bedtime and all fell asleep easily.  Which is surprising because the trip was tinged with worry because  Italy was scheduled for a railway strike, and we intended to go on from Milan to Rome.

So it was with some relief that we arrived in Milan in the wee hours to discover our connection to Rome was still on the board.  Relief and time to enjoy the beauty of the modern railway station with the morning sun lighting up the tracks’ exit to the greater world.

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Corvallis Alley

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Alley Shortcut (10 x 14 watercolor) SOLD

I drove into Corvallis a little early a couple mornings ago and spent the extra  time before opening the gallery taking pictures of downtown.  The sun was out, but it had just recently rained and the streets were still wet.  The light was gorgeous.   This little alley is just a couple blocks from Art in the Valley.  The reflected light running up the damp pavement caught my eye.

I used a limited palate, but not as limited as my last cityscape: cobalt blue, phthalo blue, raw sienna and quinacridone brown madder. The vast bulk of the painting is brown madder and phthalo blue.

[This painting sold February 23rd 2012, but you may still purchase a print from Fine Art America.]

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Wyoming Glow

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Wyoming Glow, a painting of a Western Morning by Jenny Armitage

Wyoming Glow (watercolor 15 x 18 inches) Available

Back to Wyoming in the morning.  I used the same reference photo for this painting as I did for my last pastel.  I didn’t mess the seasons this time but it looks like spring rather than summer to me.  That’s because it’s been such a wet year.  I don’t think I’ve ever seen Wyoming so green.  The early morning sun on the grass was simply spectacular.

The problem for me was not to lose the forest in the trees.   It’s much too easy to get mesmerized by detail and try to paint every tree.  Yet the painting must still suggest individual trees  and I wanted the emphasis to remain on the sunlit grass.  My solution this time was to eliminate detail by using a big brush.  The entire painting is done with a number 14 round brush (about three eights of an inch at the shank but coming to a fairly tight point).*   Usually I work in numbers 12, 10, 8 and finish with 6  (the smaller the number the smaller the brush).

I did not use mask either.  Painting carefully around the lights rather than reserving them with mask forced me to keep them big.

I also used a fairly limited palette:  winsor purple, phthalo blue, cobalt blue, quinacridone gold, and burnt sienna.  This not only helped unify the painting, but helped me concentrate on big shapes.

But I have my husband to thank for the key to this painting.  He came upstairs and looked at it in progress.

“Too fuzzy.”

“But where would I put the detail?”

“I don’t know.”

Stephen is not good at seeing what to do to a painting, but he’s very good at seeing problems.    It pays to listen to him.  I thought about it.  One classic maneuver is to put a lot of detail into the foreground.  I used that approach with my pastel.  But my painting was already too abstract to allow much real detail in the foreground.  In the end I did two things.  I added texture to the foreground and sharpened up the trees just where they intruded on the distant grass at the center of interest.  Together the changes created instant depth.


*Actually, I used one other brush, but only for my signature.  For that I used a number 2 rigger.  Riggers are very long thin brushes designed to make long thin continuous lines without having to repeatedly re-dip then in paint.  The name comes from their usefulness in painting sail rigging.


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Autumn Landscape of the Mind

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Pastel of Autumn Morning Landscape Near Grand Tetons National Park

Autumn Landscape of the Mind (pastel 12 x 17) SOLD

This pastel is based loosely on a photo I took just east of Tetons National Park in Wyoming. The early morning light made the grass glow almost yellow against the darker hills. I drove my family slightly batty stopping the car over and over to take yet another picture of light on the hills. I was actually pleased when when had to wait twenty minutes twice for construction. I liked this view in particular because of the way the beckons you in.

But my pastel could hardly feel less like early Wyoming summer. It seems we’ve never quite gotten summer here in Oregon this year and my mind has moved right along to fall. So I went where my mind is, and left June behind, converting dying pines into turning foliage and taking the grass even further yellow. But I left the morning light.

Working on the rough side of peach colored Canson Mi-Teintes I used almost entirely soft pastels. Only the foreground grass went in in hard pastel. The shadows in the grass are more soft pastel.

The blues, greens and oranges came very naturally. I added a few hints of purple in the shadows to set of the yellow grass.

This painting has sold, but you may purchase a print through my gallery at Fine Art America.

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Greeting Cards

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Georgia in the Morning

Georgia in the Morning

I am now offering many of my paintings as greeting cards through Fine Art America. The cards are 5 x 7 inches and can be printed blank or with a custom message inside. A single card costs $5.45. In packs of ten they are $2.95 each or $29.50 per pack. In packs of 25 they are $2.25 each or $56.25 per pack.

Art Prints

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Winter Morning Solitude II

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Winter Morning Solitude II (10 x 16) SOLD-Prints Available

Winter Morning Solitude II (10 x 16) SOLD-Prints Available

This is an early morning in February on Agate Beach, Oregon. The light isn’t sunrise but it’s reflection in the Western sky.

The painting is all broad washes and wet into wet. I began by masking the white water. Then I painted in the reflection of the sunrise with yellow ochre into which I dropped rose madder quinacridone. While that dried I washed the sand and rocks with raw sienna, followed by burnt sienna, followed by raw umber, followed by cobalt blue. I finished the sky wet into wet with mixes of Prussian blue, cobalt blue and burnt sienna. The ocean is cobalt blue and burnt sienna. The rocks are burnt sienna followed by burnt umber followed by cobalt blue.

Purchase a print at Fine Art

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