©2015 Joy Makon. Not to be reproduced without permission.

A Stop to Take in the Scene

Coney Island Mondays: wish I knew your name

At the end of the beach by Sea Gate there’s nothing to look at except ocean, rocks and far-off land. Unless you’ve brought your fishing rod, you don’t have to do anything except stare and refuel before turning back toward the Parachute Jump and Wonder Wheel. Allow the sea to mist in your face and the breeze to cool you off and pretend you’re almost anywhere.

Biker Guy remained a drawing for a few weeks while I worked on other paintings of people at the beach. I experimented with the others while contemplating my approach to this watercolor. I have one more to work on and that will finish a quartet of figurative seascapes for the season.

Influence of late is the work of John Singer Sargent. I’ve been to the current exhibition at the Metropolitan Museum of Art twice now, and have left with all sorts of thoughts about light, drawing, composition. Mostly I am intrigued by Sargent’s minimal brushstokes—he is as much an abstract artist as an exquisite master of what we perceive is realistic light, drawing and texture. He’s only creating the illusion of reality through simplified brushstrokes of paint—as many watercolorists attempt to do too. The takeaway here is less is more.

August 2015
Watercolor and Pencil
Arches cold press, 300 lb, 14.25″ x 21.5″

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This entry was published on August 5, 2015 at 3:14 pm. It’s filed under beach painting, drawing, Home, plein air, seascape, Summer, watercolor and tagged , , , , , , . Bookmark the permalink. Follow any comments here with the RSS feed for this post.

2 thoughts on “A Stop to Take in the Scene

  1. Sargent is a great one to be influenced by. I, too, love his fluid brushstrokes. Two other artists that had similar technique were Haddon Sundblom (Coca Cola Santa Claus) and Harry Anderson (illustrator for magazines like Colliers and Saturday Evening Post). Nice work Joy. Thanks for keeping me updated. Stephen Hall, 2dshall.com.

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