As is my custom I shall include pre-published text in colour font:

After making “Alvis Dede Wimsey III” I produced two beautiful ivory-black and bronze canvases with the same 3/8in angular long-tip brush.

“Chocolate Bronze Rectangle” is the first canvas of the two. The photograph here is the best tonal matching of the painting I can provide to you. Varying light creates superb shading values, a wonderful feeling imbued.

Upon completing I sat in the garden on a wooden bench, the painting on a table under a fabric parasol, intently admiring my own work!

The painting’s understated beauty requires a cave.

I have to say myself, “Chocolate Bronze Rectangle” amazes with its tones. For me this artwork is kind of like Basquiat writing a work as ‘Untitled’.

An artist preferring viewers to simply enjoy its qualities.

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I have decided to share two of the three paintings which made “Gold-Bronze King James VI & I Oak of 1612”. Merely a bonus to dear Readers waiting for this latest blog article.

This is the final, third painting, after two previous underpaintings:

Gold-Bronze King James VI & I Oak of 1612

“Gold-Bronze King James VI & I Oak of 1612” presents slightly lighter for sharing online.

My vibrant Impressionist painting depicts a large tree with a rich, textured trunk and branches laden with colourful leaves amidst a resplendent abstracted fauna, fore and far-ground.

The 1612 Oak branches appear like two arms of a figure reaching out towards the sky. The trunk is strong and detailed. Leaves and branches are textured with visible brushstrokes creating a sense of depth and volume.

Noticeable layering technique is utilised to create an immersive effect. The palette features various shades of green, umber, black, gold, bronze, copper, white, ultramarine and cerulean to bring a unique dreamy warmth to the treescape.

The sky is a light, hazy blue, adding openness to the expanse. There is a feeling of calm and peacefulness reflecting the quiet beauty of nature, my personality.

“Gold-Bronze King James VI & I Oak of 1612” is kind of three paintings if we include the two underpaintings prior to completion. The first, a prior study-effort of the tree in the same composition. Then a different painting entirely, a beautiful Gold Textured Abstract.

I decided to retry the tree composition from my photograph of 21st May 2025 at 1737hrs. The original photograph faces south towards the mighty Quercus Robur I named the “King James VI & I Oak of 1612”.

Both tree compositions received five distinct drafts each, with the latter including multiple finite changes throughout evaluation.

I took seventeen field photographs around the Nature Reserve and my local Lake on 21st May. The last four photographs at 1737hrs of the 1612 Oak.

The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!

“I love art I do”.

I found myself inspired by Japanese blossom and fields in making this.

The Underpainting

Here is the second underpainting for “Gold-Bronze King James VI & I Oak of 1612”:

If you review the two paintings you can see the top-right tree branch forms from the gold preworking.

If I had not already recently produced “NIIP Fine Gold” I might have considered retaining this gold painting as is. Quite honestly I was annoyed the first (now) underpainted tree (unpublished) didn’t show quite as nicely as I hoped.

I’m a perfectionist with my paintings.

I wanted to paint that tree in that composition on that canvas.

Here is the wonderful composition I photographed:

Perhaps art students or anyone interested for that matter would like to sketch, paint or even sculpture my photographic compositions?

I do hope so.

Four photographs taken of the 1612 Oak at 1737hrs are 45 seconds (pictured here, immediately above), 47, 50 (the painting composition shown in this blog article) and 54 seconds respectively.

Let me share with you a further nature photograph from the day of 21st, the fourth one taken in 1612hrs, precisely:

Just as proof of my words earlier..

“The first seven photographs around the adjacent field were taken at.. 1612hrs.. I didn’t know this until writing this very description you read here!”

.. this is the fourth photograph of seven I very quickly composed at 1612hrs. Of those photographic seconds we have 18, 20, 23, (26 pictured here, immediately above), 30, 33 and 36 respectively.

Nature is awesome.