Welcome to the Online Gallery of Jolyn Wells-Moran
Landscapes in Oils
Artist's Statement and Bio
When outside painting, she tends to first complete one to three small sketches, including a notan (black and white) study, and then paint two or more very small, or thumbnail, color studies -- as needed to plan for the results she seeks. She frequently tones the canvas or gessoed panel, draws in the composition with a thin brush, and then rubs out the light areas of the painting surface. Her next step is to lay down the values with hues, within the masses of the composition, working dark to light. She says she tries to paint in the values and hues to show the outdoor light as closely as possible. She paints most thinly the parts of the composition that are darker and those that are furthest away. She alternately uses palettes of earth (naturalistic), expressionistic or impressionistic (complimentary) colors. Her palette is limited for plein air work to keep the process as simple as possible, making a finished painting manageable before losing the light, and creating a color harmonized work.
"The greatest misconception about abstract painting is that because there is little or no representational subject, anything goes. This could not be further from the truth." Mitch Albala, painter and instructor
Member, Oil Painters of America (OPA)
Member, Plein Air Washington Artists (PAWA)