Under Grey Skies
Rendered on an 8×10 surface with thick, expressive pastel strokes, “Under Grey Skies” depicts a moment just after a passing storm when heavy clouds hang low over a verdant landscape. In the lower third of the composition, parallel bands of vibrant greens—emerald, sap, and viridian—sweep diagonally from foreground to midground, suggesting freshly tended fields or tea terraces still damp from recent rain. Short dabs of yellow-green and touches of burnt sienna highlight the furrows, as though shafts of pale sunlight briefly break through the overcast.
Rising behind these fields, the midground is dominated by two gently sloping hills, painted in deep blues and forest greens. On the right hill, a cluster of flowering shrubs or small trees bursts into view—leaf clusters in bright chartreuse and pops of crimson and cobalt—hinting at late-summer blooms that thrive even under gloomy skies. To the left, the hillside recedes into cooler blues and subtle purples, its form softened by mist or residual rainfall.
At the horizon, a narrow swath of pale lavender and soft pearl-white marks the last glow of daylight peeking through the cloud cover. This slender line of light draws the eye upward into the brooding sky, which occupies the top half of the painting. Here, a brooding blanket of charcoal-gray clouds is layered thickly with heavy strokes, conveying both weight and movement. Underneath these clouds, streaks of periwinkle and ghostly lavender suggest lingering moisture, while thin trims of cerulean peek along the upper edge, hinting at clearer air just out of frame.
Throughout “Under Grey Skies,” the contrast between the stormy sky and the lush green land below emphasizes the tension between rain and renewal. The expressive use of impasto pastels—where each textured stroke builds upon the next—conveys the tactile sensation of a landscape still wet to the touch, while the layered grays evoke the lingering hush after a rainfall. In this way, the painting becomes a quiet meditation on light and shadow: fields that remain bright in spirit, even when subdued by the weight of overcast heavens.
Rendered on an 8×10 surface with thick, expressive pastel strokes, “Under Grey Skies” depicts a moment just after a passing storm when heavy clouds hang low over a verdant landscape. In the lower third of the composition, parallel bands of vibrant greens—emerald, sap, and viridian—sweep diagonally from foreground to midground, suggesting freshly tended fields or tea terraces still damp from recent rain. Short dabs of yellow-green and touches of burnt sienna highlight the furrows, as though shafts of pale sunlight briefly break through the overcast.
Rising behind these fields, the midground is dominated by two gently sloping hills, painted in deep blues and forest greens. On the right hill, a cluster of flowering shrubs or small trees bursts into view—leaf clusters in bright chartreuse and pops of crimson and cobalt—hinting at late-summer blooms that thrive even under gloomy skies. To the left, the hillside recedes into cooler blues and subtle purples, its form softened by mist or residual rainfall.
At the horizon, a narrow swath of pale lavender and soft pearl-white marks the last glow of daylight peeking through the cloud cover. This slender line of light draws the eye upward into the brooding sky, which occupies the top half of the painting. Here, a brooding blanket of charcoal-gray clouds is layered thickly with heavy strokes, conveying both weight and movement. Underneath these clouds, streaks of periwinkle and ghostly lavender suggest lingering moisture, while thin trims of cerulean peek along the upper edge, hinting at clearer air just out of frame.
Throughout “Under Grey Skies,” the contrast between the stormy sky and the lush green land below emphasizes the tension between rain and renewal. The expressive use of impasto pastels—where each textured stroke builds upon the next—conveys the tactile sensation of a landscape still wet to the touch, while the layered grays evoke the lingering hush after a rainfall. In this way, the painting becomes a quiet meditation on light and shadow: fields that remain bright in spirit, even when subdued by the weight of overcast heavens.
Rendered on an 8×10 surface with thick, expressive pastel strokes, “Under Grey Skies” depicts a moment just after a passing storm when heavy clouds hang low over a verdant landscape. In the lower third of the composition, parallel bands of vibrant greens—emerald, sap, and viridian—sweep diagonally from foreground to midground, suggesting freshly tended fields or tea terraces still damp from recent rain. Short dabs of yellow-green and touches of burnt sienna highlight the furrows, as though shafts of pale sunlight briefly break through the overcast.
Rising behind these fields, the midground is dominated by two gently sloping hills, painted in deep blues and forest greens. On the right hill, a cluster of flowering shrubs or small trees bursts into view—leaf clusters in bright chartreuse and pops of crimson and cobalt—hinting at late-summer blooms that thrive even under gloomy skies. To the left, the hillside recedes into cooler blues and subtle purples, its form softened by mist or residual rainfall.
At the horizon, a narrow swath of pale lavender and soft pearl-white marks the last glow of daylight peeking through the cloud cover. This slender line of light draws the eye upward into the brooding sky, which occupies the top half of the painting. Here, a brooding blanket of charcoal-gray clouds is layered thickly with heavy strokes, conveying both weight and movement. Underneath these clouds, streaks of periwinkle and ghostly lavender suggest lingering moisture, while thin trims of cerulean peek along the upper edge, hinting at clearer air just out of frame.
Throughout “Under Grey Skies,” the contrast between the stormy sky and the lush green land below emphasizes the tension between rain and renewal. The expressive use of impasto pastels—where each textured stroke builds upon the next—conveys the tactile sensation of a landscape still wet to the touch, while the layered grays evoke the lingering hush after a rainfall. In this way, the painting becomes a quiet meditation on light and shadow: fields that remain bright in spirit, even when subdued by the weight of overcast heavens.