Raven Trio

March 10, 2018

Portraying moonlight is something of an intriguing interpretation for painters.  Some, like the famous American painter Frederic Remington, chose a greenish hue for its earthly glow….


Others, like the American painter Maxfield Parrish, often used yellow as the predominant colour of moon glow….


I’ve noticed other painters depicting the colour of moonlight in hues of blue.  And in this little painting of Ravens, my choice is sepia and white….


Three Ravens‘, 8″ x 10″, Arches Hot Press 140 lb Paper, Sold

By including my own, I’m certainly not attempting to put myself in the league of a Parrish or Remington–but merely drawing attention to how our eye finds mystery in the way the moon reflects and illuminates the landscape.  When I go outside on a full moonlit night, I feel it is a blueish reflection on snow, and more earth-toned on our backyard mountain and rocks.  And even though I never quite manage to see moonglow  as green, I simply adore Remington’s moonlit scenes and illustrations.  He convinces me it really is green!

What is it for you?



‘Raven Nights’

February 20, 2018

In keeping with my fascination over trying to capture night in watercolour, here’s another attempt at mood and texture:

raven mood 9x10 august 2107

‘Raven Nights’, watercolour on Saunders Waterford Hot Press 90 lb. paper, 9″ x 10″, Sold

Stage One: ‘Raven Winter’

February 13, 2018

My watercolourist friend Patricia Kellogg [https://www.facebook.com/Patricia-A-Kellogg-357357001050096/] and I are doing a painting exchange.  I acquired one of hers of an artichoke plant in late autumn–that expressive form plants take when frost renders them lifeless, yet beautiful even so.  And because she has a couple of mine with ravens in them, she wanted one more and so here’s the first stage of it.

stage 1 of Raven morn

The surface for this painting is treated mat board and the medium is transparent watercolour.  It is a 9″ x 12″ piece.  Once it is finished I will enjoy taking it over to The Red Beard Cafe where we have our monthly coffee and seeing if she likes it.  I’ll also bring a couple of others with me to provide a choice.

book cover

August 11, 2015

Leon Idriz Azevedo is a Brazilian author who requested the use of the painting “Raven Moon” for the cover of his recent Novel “The Desert of My Eyes” (“O Deserto Dos Meus Olhos”).


The Novel (currently available in Portuguese) finds the main character, Rupert Lang, thrown into a historic quest to seek the remains of what he stumbles upon as a ‘lost identity’ — taking him through ‘the Spanish court of the reign of Isabel II, the streets of Prague Johannes Kepler and the halls of a Buddhist temple built on a cliff in China’.

“. . . What could have been lived and what is suspected from the imagination receive equal value, challenging the reader to trust the chaos and find answers and truths in the improbable . . . “

A miniature of the new book’s cover has just been painted and is wending its (slow, ship-bound way) to Brazil, with best wishes and hopes Mr. Azevedo receives great reviews and even greater public readership of this new adventurous Novel.

My hope is that I’ll soon be able to read it in English.


raven moon

May 20, 2015

PAINTING NIGHT has become something of a preoccupation.  On a very bald and pedestrian level, one could simply say that ‘night sells’.  However, it is the ‘why’ which is intriguing–why do scenes of watercolour-rendered night have an appeal.

raven winter aa

‘Raven Moon’, watercolour, 35cm x 25cm (14″x10″), Art Board, (sold)

THERE IS A FASCINATION over what goes on in nature while we are sleeping.  When walking the dog at 4 a.m., there are owls hooting, deer eating in people’s yards, the occasional cries of coyotes, and the enduring scent of lilac.

HEARING, TOUCHING, SMELLING all come alive, while seeing is at the pleasure of the muted moon–at once reassuring and mysterious.

The Gleaners

April 30, 2015

THE GLEANERS is a renowned painting by Jean-Francois Millet, finished in 1857.


It was controversial in France for its depiction of the lowest classes of society, picking from the fields what little was left after harvest.  Prior to this, paintings of people were usually paintings of people who were rich enough to have their portraits done.

THERE WILL ALWAYS BE GLEANERS, as we know.  And each of us, in our own way, were often taught by our parents to make good use of every last bit of something, including the meal(s) in front of us.

The Gleaners a

IN THE ANIMAL WORLD, Ravens are gleaners supreme, going after what little remains of just about anything left behind, tossed aside, or just there for the taking.  Yesterday I encountered one in the parking lot of our local Mall, hopping about a garbage can with a broken wing, waiting for someone to provide some slim pickings.  Its noble bearing and size–the gloss of its plumage, the inherent dignity–only added to the poignancy of its situation.  And yet, it wasn’t exhibiting signs of pain or discomfort, just a keen willingness to take what it could get and survive.  And glean.

Silt Bluffs

April 26, 2015

THE KAMLOOPS REGION is a geological wonder.  50 million years ago, volcanoes erupted and volcanic ash and lava covered the land, and their record is preserved in fossil beds throughout the area. Ancient rivers carved the landscape, forming the modern valleys of the Thompson Rivers and, during the Ice Ages, ice sheets carved the valleys and rounded the plateaus and mountains in the Kamloops area.  (sourced from ‘Tourism Kamloops’ website)

THIS PAINTING is of a local geological formation called The Silt Bluffs.  In the height of summer they are baked by a 40C sun, and are the home of rattlesnakes and cacti . . . and Ravens.


“The Silt Bluffs”

23cm x 30.5cm (9″ x 12″), watercolour, 140 lb. Arches Hot Press Paper, sold

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