65. Wheat Field with Gulls (after Crows) 2017 by Anthony D. Padgett (after Van Gogh Auvers Sur Oise 1890)

A rural path recedes diagonally into the distance, flanked by two distinctive pale-trunked trees (left and center) standing against a luminous overcast sky. The sky dominates, filled with scattered dark bird silhouettes in varied flying poses. Below, a patchwork field of greens, yellows, and earthy tones frames the path, which reads as a pale gray-white band with subtle warm shadows. The light is diffuse and cool—a late-afternoon overcast quality—with the eye pulled along the path's receding perspective while birds activate the upper two-thirds of the canvas.

The sky is the lightest passage, ranging from near-white at center to pale lavender at the edges, creating atmospheric depth. The path forms the second-lightest value band, anchoring the composition. Mid-tones (field greens and grays) occupy the majority. Darkest accents are the tree trunks, bird shapes, and field shadows. Squint and you'll see three clear zones: bright sky, medium field, darker path edges and tree forms.

• #cad3e4

  titanium white + touch of ultramarine blue + hint of alizarin

  sky highlights, the bright heart of the cloud areas, highlights on the path

• #a9bad6

  ultramarine blue + white + trace cerulean

  mid-sky lavender, cloud shadows, atmospheric haze

• #799bab

  cerulean blue + gray earth + white

  sky depth, cooler sky passages, path water reflections

• #6c717e

  ultramarine + burnt sienna + white

  path shadows, tree trunk shading, field definition

• #376e54

  cadmium green + alizarin (or viridian + ultramarine)

  deep field greens, shadow areas in wheat/grass patches

• #3b4245

  ultramarine + burnt umber + touch of black

  bird silhouettes, darkest tree trunks, accents

The sky is hatched and directional—horizontal and diagonal strokes layer over one another, creating a woven, restless surface that reads as moving clouds. The path has crisp but softened edges where field meets road. Trees are drawn with firm line and simplified color blocking; the field is broken into visible rectangular patches of distinct hues, unblended. Birds are quick, gestural marks—single strokes or simple V-shapes—never labored.

1. 01

   Establish composition and horizon

   Lightly sketch the diagonal path rising from lower left toward center-right. Mark the horizon line roughly two-thirds up. Position the two trees—one left, one center—with their trunks as vertical anchors. The path should recede with gentle perspective, narrowing as it goes back.

2. 02

   Underpaint the sky

   Block in the entire sky with broad, directional brushwork using light lavender and pale blue. Leave some near-white gaps toward the center. Work loosely; this is the foundation for atmosphere. Use horizontal and diagonal strokes to create energy—don't smooth it.

3. 03

   Block in the field masses

   Paint the field areas on both sides of the path with varied greens (bright lime-green in lighter areas, deeper forest green in shadows) and patches of warm yellow-ochre. Don't blend; let colors sit adjacent. Leave the path unpainted at this stage.

4. 04

   Paint the trees and their foliage

   Block in the pale, cool-toned tree trunks with muted blue-gray and white. Add the foliage masses above using pale turquoise-green (visible on the left tree especially) and cooler greens. Keep these simplified and show the vertical growth direction through brushwork; don't make them photorealistic.

5. 05

   Establish the path with light and shadow

   Paint the path surface with pale gray-white mixed with touch of lavender and cool blue. Add slightly darker gray shadows along the right edge and some warmer (ochre-tinged) shadows on the left. The path should feel recessive but luminous—it's lit from above by that diffuse overcast light.

6. 06

   Refine field patchwork and add yellow-green accents

   Go back into the field with smaller touches of bright yellow-green and warmer greens to suggest texture and crop variation. Add reddish-brown touches in the far left corner. The field should read as a living, varied landscape—not monolithic.

7. 07

   Paint the birds

   Using dark blue-black, scatter the bird silhouettes across the sky with quick, gestural marks. Vary their poses—wings up, wings down, diagonal flight lines. They should feel spontaneous, not placed like decorations. Some overlap the tree line; some are isolated in the upper sky.

8. 08

   Adjust sky depth and atmospheric quality

   Layer additional soft strokes of blue-gray and lavender over the sky to add movement and depth. The sky should feel restless, not flat. Soften edges where sky meets landscape. Add any final light touches of near-white where the brightest clouds sit.

• Treating the sky as a flat backdrop—it must have visible directional brushwork and color variation throughout. Without this texture, the painting loses its energy.
• Making the birds too realistic or detailed—they're silhouettes, quick marks. Overworking them kills the gestural quality that gives them life.
• Blending the field colors into a smooth gradient—this painting thrives on visible, adjacent color patches. Let greens, yellows, and warm tones sit next to each other unblended.
• Losing the washed, cool overcast light quality by adding too much warmth or strong shadow contrast. The light here is soft and diffuse; avoid creating harsh value separations.

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility