Blog
I’ve almost completed this 8x12 oil color study of a wild horse overlooking Palo Duro Canyon, and I’m quite happy with how it has turned out.This painting has had a long journey. Two years ago I started a large 40x60 inch version of the scene, but the color harmony was off and the horse I painted solid black just didn’t work with the warm light of the canyon. After struggling with it for some time, I finally set it aside.The image of that dramatic overlook stayed with me. So I decided to try again, this time as a small color study on an 8x12 panel. I added a wild horse for scale and interest — even though I’m not sure wild horses ever actually lived in this particular part of Palo Duro Canyon. Sometimes artistic license wins out when it makes for a stronger painting.This little study has taken on a life of its own. It captures the vastness and quiet beauty of one of Texas’s most impressive landscapes. It will also serve as valuable reference when I eventually return to the large canvas with better solutions.
“Wild Horse at Palo Duro”
Oil on panel • 8 x 12 inches. I’ll be posting this piece on my website soon. It may not be available for sale immediately, since I plan to use it as reference for redo of the bigger painting.
Oil on panel • 8 x 12 inches. I’ll be posting this piece on my website soon. It may not be available for sale immediately, since I plan to use it as reference for redo of the bigger painting.
I have another painting of a side of a bluff in Colorado in the late afternoon and large thunderstorm in the background. Its from a photo I took while driving down from the mountain in Wolf Creek into Southfork. I'll be posting that one probably later in the week as it is about 95 percent completed.
Last week was a very special one in my studio. After several days of work and rushing to complete the painting before my father's visit down in Fort Worth Texas from Nashville Tennessee — and from the early progress shots to the final brushstrokes — the portrait of my father was finally finished and ready to go home with him. Soon after my father and his wife Sharon arrived at our home, I had the pleasure of presenting the completed painting to them. Their reaction meant more to me than any gallery show or collector’s praise ever could. They both loved it. Seeing my father’s face light up as he studied the finished piece was deeply moving. Sharon’s warm response made the moment even more meaningful. This painting was a true labor of love. I had painted his portrait previously from a photo taken at my sister's wedding a few years ago, but he did not like the likeness. This time I believe I captured something of his quiet strength, gentle humor, and the life he’s lived, was both challenging and incredibly rewarding. Working on a portrait of someone so close to you raises the stakes — every brushstroke carries extra weight. As an aside, I took an old frame and cut it down to fit the painting due to insufficient time to have one made prior to my father's arrival. Fortunately I seem to be a collector of old frames and easels which comes in handy if you're an artist.
The painting now hangs in their home, where it belongs. I’m grateful to have had the opportunity to create this keepsake for my family, and I’m thankful for the support and encouragement so many of you have shown as I shared the progress along the way.
Painted with the Zorn Pallet of Mars Black, Yellow Ochre, Cadmium Red and Titanium White
18 x 24 Oil on panel of Ralph B Christian II (I am named after him and my grandfather which makes me the III)
Collection of the artist’s family. Thank you for following this journey with me. There’s something profoundly special about creating art for the people you love most.— R.B. Christian III
Collection of the artist’s family. Thank you for following this journey with me. There’s something profoundly special about creating art for the people you love most.— R.B. Christian III
Learning from a Master:
I’ve been quietly working on this portrait of my father for the past couple of weeks, and I wanted to share the latest update with you. Actually, this portrait is the second one of painted of him. This latest one is painted entirely with the Zorn palette (just Titanium White, Yellow Ochre, Cadmium Red, and Ivory Black). It’s an incredibly powerful but challenging limited palette that forces you to focus on values, temperature shifts, and edge control. What better way to go than to follow what one of the old masters (Zorn) accomplished by imitating his greatness and skill but using that and making it uniquely your own? A few days ago I posted an earlier stage and received thoughtful feedback from my mentor, Skip Whitcomb. He pointed out areas where the light was still a bit flat and the form needed stronger definition. I took his notes to heart and pushed the painting further — especially on the eyes, skin temperature (warm lights vs cool shadows), and directional lighting. Here’s where it stands today:
I still have a few small refinements to make (especially on the black shirt reflections and a couple of edges), but I’m really happy with how it’s coming along. More than anything, it’s starting to capture not just his likeness, but that gentle, slightly amused expression that’s so uniquely him. Working on a portrait of a parent is a special experience — equal parts technical challenge and emotional journey. While he's still in reasonable health for his age, soon to be 87, I want to honor him in a way that is suitable to his dignity and experience. And I can't think of a better way to do that than a portrait created by his own son. I’ll keep you posted as it nears completion.
What do you think? Any areas you’d suggest I focus on next? I’d love to hear your thoughts in the comments. Thanks for following along on this little journey.
— Bernie
