R. Davies Art

The Anchor 28x26 Oil on linen. --SOLD This lovely painting was fun to produce. It is of a bar located on a fairly busy street and for the angle I wanted, I would have put myself at risk from traffic had I set up my easel where I needed to. So, early on Thanksgiving morning (though this is actually set at sunset), I set up my easel with a large drawing pad in the street. Traffic was nearly non-existent. I drew it sight size, took a few reference photos and later transferred it to the linen in the studio. For the sunset effect, I used a number of reference photos at various times to get the right light for the neon sign. In the process of exploring design and color possibilities, I realized I would need to forge my own sky, and eventually decided that gradating the light from near pinkish-white to a dark evening cast of blue would best convey the brilliance of the sign without losing the impact of the sunset. This had the added effect of creating a path for the eye to follow from t

Rainy Douglas SOLD There is something positively plaintive about a rainy day. This stretch of shops with its lone car really pulls at my nostalgia thread. The most difficult part is not the wet street; it is the compression of values to be seen in the windows at the left with the warm tones fading into vague structure. Rather than try to exactly represent these, it is best to leave much of that to the imagination. Every person has their very own prop department in their brain. When I say, "fireplace," you conjure up that prop from your back rooms. If I suggest it is large, you fill in the details and make it large. When you have a passage in a painting that is vague, your brain will feel a sense of mystery, a curiosity, and it will figure out what it thinks best represents reality. Almost every passage in a painting that is in shadow or very dim light, needs only the vaguest suggestions to render an image (think of any Rembrandt painting). Remember, at night, our eyes use

Hilton Head. 16x24. Oil on linen. SOLD. Loved this composition. Getting up to capture the sunrise on Hilton Head is HARD. I am not a morning person. I will say that the diner we stopped at afterwards was amazing. A little place where the locals hang out, they served a wonderfully greasy breakfast. Combined with the jet fuel coffee, I found myself awake and ready to go. Wish they had been open earlier.

Ford Douglas. 30x24. Oil on linen. $1760--SOLD. This painting was one of the hits of the Diver Studio show and sold recently. I really like the combination of realism and sketchy impressionistic techniques which give it a real depth. Most beginning painters feel the need to render each and every part of the painting at the same level of detail. This is always a mistake. The star of the show is the focal point. All else must be subservient to that star. The Ford in this painting is rendered in near photorealism, a technique that is not that hard; whereas, a sketchier rendering is far more difficult because it must look natural and it must convey the sense of the objects in the painting without falling into the uncanny valley. Sounds like an old horror film, doesn't it? The concept of the uncanny valley is that on a sliding scale from completely abstract to exactly realistic, on the side of exact realism there is an area where just being slightly off in drawing or values causes

Tanya--24x32--oil on linen--SOLD Here is the latest portrait delivered last week. Tanya is a restauranteur who loves her Olive, the pug in the portrait. As the dog is very old, she decided to get them together in a portrait. It is a good one I think.