I've started planning some large landscape paintings, which has inspired me to study the few hundred pages of Reilly Landscape Program notes I have. The Landscape Program: Outdoor Painting, like the "Reilly Method" total, is based upon concepts he learned from his teachers Frank Vincent DuMond, George B. Bridgeman, as well as the immense influence of Dean Cornwell.
Foliage greens and a clear blue sky.
Before doing the exercises one question needed to be answered...
Since my notes contain a number of palettes (including DuMonds) I needed to determine which I feel would be most useful. Here are some tests..
The top row is 4 different palettes painting the same abstract landscape.
The second row is the palette directly above used to paint color notes of 2 Peder Monsted and 2 Dumond landscapes.
The third row is the 3rd palette from the left used to paint 4 more abstracts.
The fourth row shows to sky gradations from the zenith to the horizon, and color-notes after Thomas Anshutz. First is a blue-green zenith to a blue-purple horizon, second is a blue-purple zenith to blue green horizon. The Anshutz was done with the third palette.
Obviously I've decided that the foliage greens string of the 3rd palette has the greatest inherent possibilities, and will use it as the foundation for further study. For the Munsell in you: 5Y/8/10, 5GY/7/8, 5GY/6/8, 5GY/5/8, without the "big book" I'm not sure of values 4,3,2 but they continue going blue. Value 2 probably being 2.5G, all grayed with a PB string of white and lamp black.
here is my Monsted color-note at life size 2" x 3"
