(In framing, the original painting was resized. Hence, the visual depth of the painting has been lessened.)
The ‘rule of thirds’, laterally and vertically, has been used in composing this painting. The viewer’s eye travels up the road and moves to the central section of the painting, checks out the house in the background, and then rests on the steer. He is looking at the viewer.
The artist used his favourite palette of analogous, complementary colours, (colours side by side on the colour wheel), with red-violet and yellow being the interacting, contrasting colours. The sky is strongly tinted, and there are a few fluffy clouds visible. The sandy road blends well with the soft colours on the tree trunks. The vivid grass adds lots of energy to the painting, and the strong, contrasting colours used for the steer and the hollow tree, bring the painting to life.
The smoothly painted tree trunks reflect light, and the shadows being cast are quite long. It appears as if it is late afternoon on a summer’s day.
By having a strongly coloured foreground and a lighter coloured sky, an effect of visual depth has been created.
There has been lots of layering of paint. The artist used both flat and round brushes of varying sizes to apply coloured dabs of paint and smooth, long brushstrokes. The controlled line of the curved road is well done. Parts of the painting are speckled and ‘stippled’ and this makes it very interesting, as the grass and tree foliage seem to shimmer.
The artist applied painting techniques learned in his study of Australian Impressionism when he created this painting. This is beautiful Australia where life is free, and the mood is peaceful.
Acrylic on Masonite, date unknown. (Cleaned and framed. Resized in framing.)