"St. Barth's" Church Contemporary Impressionist Caribbean Cityscape Painting in Blue and Cream by Mill Valley Artist Mary Anne McKernie
I took the photo on which this painting was based 20 years ago on a trip to the island of St. Barthelemy. The stark white of sun-drenched buildings is dramatic against the deep blue Caribbean sky.
Original (New) - Acrylic on canvas
My art is inspired by both natural and built environments, primarily of the Bay Area where I have resided for 45 years, but also by trips taken to countries in Europe and the Caribbean. My studio is in Mill Valley, California.
My use of color can be traced to years of interior design and color consulting. Observing that many wall paints looked dull and lifeless regardless of hue, I learned that those that seemed rich and complex—as if they glowed from within—were mixed using the full spectrum and without black. To replicate these pleasing and harmonious colors, I use a limited palette comprised of only the three primaries, two secondaries and white, and I mix my own chromatic blacks.
The scenes in my artwork are often desolate, devoid of people, distilled to the essential elements needed to convey a peacefulness that may exist for only a fleeting moment. And in that starkness is a certain drama.
Acrylic paint, canvas
2 Artist Reviews
£236.2
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"St. Barth's" Church Contemporary Impressionist Caribbean Cityscape Painting in Blue and Cream by Mill Valley Artist Mary Anne McKernie
I took the photo on which this painting was based 20 years ago on a trip to the island of St. Barthelemy. The stark white of sun-drenched buildings is dramatic against the deep blue Caribbean sky.
Original (New) - Acrylic on canvas
My art is inspired by both natural and built environments, primarily of the Bay Area where I have resided for 45 years, but also by trips taken to countries in Europe and the Caribbean. My studio is in Mill Valley, California.
My use of color can be traced to years of interior design and color consulting. Observing that many wall paints looked dull and lifeless regardless of hue, I learned that those that seemed rich and complex—as if they glowed from within—were mixed using the full spectrum and without black. To replicate these pleasing and harmonious colors, I use a limited palette comprised of only the three primaries, two secondaries and white, and I mix my own chromatic blacks.
The scenes in my artwork are often desolate, devoid of people, distilled to the essential elements needed to convey a peacefulness that may exist for only a fleeting moment. And in that starkness is a certain drama.
Acrylic paint, canvas
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