The Paintings of Trees or With the Trees Sold in Millions of Dollars.
Sold in $57 MIllion (1993)
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Sold in $85 MIllion (2008)
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Sold in $65.1 MIllion (2014)
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If you want to paint the trees, you are not alone. You are in the good company of the artists. In the company of the artist as Constable and Sisley. They always painted excellent trees. And if you are not living ina round-the-year snow-clad region, you can surely paint the trees well. Let us find out how we can paint the aesthetically correct trees in our landscape painting. Do remember, while painting landscapes, the trees are important objects.
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Oil on canvas Claude Monet Jeanne-Marguerite Lecadre in the Garden Sainte-Adresse |
It would not be necessary to become stylish while painting. Do not paint the complexity. Just be simple. It would pay in long run. Take it for granted. Just draw the proper shapes and natural-looking branches of the tree. That should be sufficient.
Painting the trees at a Distance: If you ask me how I look at the trees, I would say that I look at the tree with one eye at a time. Yes. Close your one eye and see the scene. Thereafter close another eye and look at the scene. You can see with both the eyes half-closed. That is a great technique. You would feel the proper brightness of the light and the natural colours of a landscape folded before your eyes.
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Under the Blossom that Hangs on the Bough John William Godward |
The Distant Trees: Now let us discuss the trees which are at a distance from us. From our experience, we know that as the object goes away from our eyes, we can see less detail about it. Thus while painting the trees which are at a sizable distance from us, we should make them loaded with lesser details. That's the golden rule. Now select the colours. If these trees, the distant trees, are painted in grey and blue tones, it would be ideal. These colours would not add many details. You can use your imagination. Freedom is yours. Just follow the rule of the colour scheme.
In the case of the distant
tree, mere painting the silhouette would be sufficient in most of the cases. It
would not be necessary to make these trees more outspoken, you know. We do make
things painted with many details only when the objects are competing with each
other. The trees at a distance would not be competing with other objects in the
near vicinity, so far their looks are concerned.
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The Cornfield John Constable National Gallery, London |
You have seen how the trees painted in the middle
distance would require precise treatment. Care will have to be taken regarding
their shape, the colour-scheme to be applied, the tonal values to be ascribed,
and the shades of colours. It would be crucial to know that the shades of the
shadows that these trees create on the ground would be darker than the branches
and leaves of the tree painted.
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