ECHOES OF LIGHT
Paintings from Italy by Jared Brady
Venice Dolomites
Venice
May 23-June 7
Ah, Venice. Where do I start? My stay this time in Venice lasted a little over two weeks, which allowed time to really explore and settle into the city without the pressures of a short visit. Painting a place you’ve seen many times means finding new angles and hidden spots, and Venice has plenty to explore.
One highlight was finally painting the front of the Santa Maria della Salute, which had been under restoration for several years. Claude Monet came to mind as inspiration, painting the same subject under different types of light. I painted the Salute more than ten times… I may have been slightly obsessed. The swollen knee helped me justify it since it was a short walk to the waterbus, which conveniently dropped me at the Salute’s steps.
Sometimes, we also had over ten artists together, which was an amazing learning opportunity. There are so many little tips you pick up here and there from each other. It’s part of what makes painting with friends so special.
Venice
Painting at Campo Santi Giovanni e Paolo
Ospedale Doorway. Oil on linen, 10 X 8.
Passage Reflections. Oil on linen, 10 X 8.
This beautiful tunnel near the water caught my eye for the intense contrast of light at its end. Painting it was a balancing act, keeping the textures secondary so that the tunnel remained the focal point. I spent a long time working out the cropping and slowly building up those unique textures before finishing with the strong light and silky ripples.
Venice Tunnel. Oil on linen, 9 X 12. Venice
Palace Arches. Oil on linen, 9 X 12.
Salute in Overcast Light. Oil on linen, 9 X 12.
St Mark’s Basilica. Oil on linen, 8 X 10.
Morning Canal. Oil on linen, 8 X 10.
Venice
Sunlit Facade. Oil on linen, 9 X 12.
Salute in Evening Light. Oil on linen, 8 X 10.
Church of San Moisè. Oil on linen, 12 X 9.
Before the Storm. Oil on linen, 12 X 9.
Venice
Across the Canal. Oil on linen, 8 X 10.
One of my unexpected favorites from the trip was a view of the Salute from across the canal. I especially loved the end-of-day light striking the building and the gondolas silhouetted against the ripples. I spent extra time pushing the texture and color here, and I am so glad I did.
Venetian Well. Oil on linen, 8 X 10.
Canal Reflections. Oil on linen, 12 X 9.
Venice
Salute in Sunset Light. Oil on linen, 9 X 12.
Salute in Afternoon Light. Oil on linen, 8 X 10.
Here is the larger version of the Salute under that intense end-of-day light. It took about four or five hour-long sessions to complete. I kept many areas thin and scraped down with my palette knife so I could keep painting into them. Normally I finish plein air work in one or two sittings, so this was a real test of patience. I am glad I pushed it further, since it taught me a lot about developing a painting on location. Early on, I decided to keep the shadows very atmospheric and soft, and that choice became one of my favorite parts of the piece.
In-Progress shot Where Light Rests. Oil on linen, 16 X 20. Venice
Dolomites
June 7-June 12
After Venice, we headed to the mountains for a mini road trip. The mountain roads are nothing like in the U.S. They were narrow and winding, filled with buses and bikers. I was relieved I wasn’t the one driving. This excursion was filled with steep walks, but thankfully my knee had recovered and I was able to join in!
The unique mountains were breathtaking, but an incredible challenge to paint. The atmosphere was tricky, and composing the towering peaks took extra focus. Watching my friends paint taught me a lot about finding a clear focal point and capturing the subtle forms in the mountains accurately. Even though I didn’t finish as many paintings as I hoped, I enjoyed every session.
The highlight was the cable car to Seceda Pass. The 360-degree panorama felt cinematic. Truly one of the most stunning mountain views I’ve seen. I took extra time to breathe, take it in, and make mental notes of color and atmosphere. It was a much-needed refresh after the earlier stress of health issues.
Painting in Gardena Pass
I painted this in the morning while visiting Seceda. To reach the top we took a cable car, something we almost skipped because of the ticket price. However, as we approached the top, it became clear to all of us that it was worth it. I have never seen views like that; it honestly felt like stepping into a scene from The Lord of the Rings.
Morning at Seceda. Oil on linen, 8 X 10.
Afternoon at Seceda. Oil on linen, 12 X 9.
Dolomite Lake. Oil on linen, 8 X 10.
This was painted in Gardena Pass, in the Dolomites. While scouting for spots, we noticed an abandoned barn standing in front of the mountains. It felt a little crazy to come all the way to the Dolomites just to put a broken-down building in the foreground, but I always enjoy having that kind of counterpoint to a dramatic backdrop.
Shadow of the Peaks. Oil on linen, 8 X 10.
Southern Italy
June
12 - June 25
Altavilla Silentina, a charming town with a textured historical district, was our first stop for the artists in the residency. We spent days exploring and finding vignettes to paint, enjoying the slower pace of life. During a festival for Saint Antonio, our group joined in the celebrations and the cheer of the crowd even got me dancing in front of everyone.
Next stop was Albanella and Paestum. Our residency host had a beautiful garden where I enjoyed painting some fresh roses. We also painted around Albanella and the surrounding region. Our last stop was painting in Paestum, one of the most well-preserved Greek temple sites in the region. One of the fun and ambitious paint sessions was when I attempted a nocturne during the day. Despite heat and occasional downpours, we finished the residency with an exhibition at a villa directly across from the main temple. It was a perfect way to end the trip.
Painting in Paestum
Altavilla Sunrise. Oil on linen, 9 X 12.
Altavilla Sunset. Oil on linen, 8 X 10.
This one was painted in the historical district of Albanella. A gated courtyard filled with dappled morning light immediately drew me in. It proved trickier than expected, since painting while looking through a gate can really throw your eye off. In the end, it became one of my favorite subjects because of the variety of textures and objects within the scene.
Albanella Courtyard. Oil on linen, 9 X 12.
Textures of Altavilla. Oil on linen, 9 X 12.
Altavilla Lemontree. Oil on linen, 9 X 12.
Finding fresh compositions in a place you have painted many times can be difficult. After wandering in indecision, I came across a small garden with rows that receded beautifully into perspective. It felt like the perfect way to show distance with the towering temple rising in the background.
Paestum Garden. Oil on linen, 9 X 12.
Elena’s Garden. Oil on linen, 9 X 12.
Yellow Roses. Oil on linen, 10 X 8.
When you are surrounded by the weathered walls of Altavilla Silentina, you start to rethink how you handle texture. I spent extra time experimenting with different brush applications until I finally had that moment where I got the texture I had been chasing. Some paintings really need to be seen in person to experience fully, and this is one of them.
Altavilla Street. Oil on linen, 10 X 8.
Paestum Shadows. Oil on linen, 11 X 14.
Dusty Sky at Paestum. Oil on linen, 9 X 12.
This scene was completely transformed by the striking afternoon light, which pulled the composition together. I love how the separation of light and shadow groups allows room for softness within the shadows. As a landscape painter, I find that some scenes benefit from pushing atmospheric effects.
Altavilla Door. Oil on linen, 9 X 12.
Italian Alleyway. Oil on linen, 12 X 9.
Altavilla Stairway. Oil on linen, 10 X 8.
Olive Grove. Oil on linen, 8 X 10.
Agropoli Beach. Oil on linen, 8 X 10.
Here is a painting of the Temple of Athena in Paestum. I had been wanting to try a nocturne during the day. Since the park has limited hours, I had to invent the colors and values while relying on the drawing information in front of me. It was a great learning experience. The people watching me paint were probably a little confused though.
Athena Temple Nocturne. Oil on linen, 16 X 20.
In-Progess View
Minis
5 x 7 panels
This trip I decided to attempt something new and never before thought of… doing mini paintings. I know! Who would’ve thought? All jokes aside, I thought this would be a really fun way to push myself in new ways. I wanted a quick way of capturing fleeting moments of light or tricky subjects, like light striking a gondola before it leaves the dock. Joaquín Sorolla’s travel sketches were a huge inspiration. They are so intimate and full of life, even if less “resolved.”
I made 32, 5 x 7 panels in advance, aiming for roughly one per day. I didn’t always stick to the schedule, but I kept pushing. Some flowed effortlessly, others were difficult, but by the end of the trip, I completed all 32. I highly recommend bringing small panels on a trip, they’re a great way to experiment and learn with less pressure.
Canal Bridge. Oil on linen, 7 X 5.
Canal Corner. Oil on linen, 5 X 7.
view of the Salute. Oil on linen, 5 X 7.
Venice Garden. Oil on linen, 5 X 7.
Arches of Venice. Oil on linen, 5 X 7.
Venitian Monument. Oil on linen, 7 X 5.
Canal Passage. Oil on linen, 7 X 5.
View of The Academy Bridge. Oil on linen, 5 X 7.
Grand Canal Sunset. Oil on linen, 5 X 7.
Evening Light at the Salute. Oil on linen, 5 X 7.
Gondola Station. Oil on linen, 5 X 7.
Salute Facade. Oil on linen, 7 X 5.
Across the Grand Canal. Oil on linen, 7 X 5.
Dolomite Lake Evening. Oil on linen, 5 X 7.
Ortisei Morning. Oil on linen, 5 X 7.
Seceda Shadows. Oil on linen, 7 X 5. Gardena Pass. Oil on linen, 7 X 5.
Ortisei Evening. Oil on linen, 7 X 5. Altavilla Sun. Oil on linen, 7 X 5.
Albanella Sunset. Oil on linen, 5 X 7.
Altavilla Church Tower. Oil on linen, 5 X 7. Minis
Potted Cacti. Oil on linen, 5 X 7.
Hydrangeas and Demijohn. Oil on linen, 5 X 7.
Italian Door. Oil on linen, 7 X 5.
Secret Courtyard. Oil on linen, 7 X 5.
Last Light at the Temple. Oil on linen, 7 X 5.
Shadows on the Temple. Oil on linen, 5 X 7.
Temple of Athena. Oil on linen, 5 X 7.
Colors of Albanella. Oil on linen, 5 X 7.
Beach Day. Oil on linen, 5 X 7.
Resting
Paestum Ruins. Oil on linen, 5 X 7.
Goats. Oil on linen, 5 X 7.
Thank You
As always, thank you for the support. Without collectors, friends, family, and followers encouraging me, I could not do this. I feel fortunate to be in a position to have adventures like these. These trips can be tiring at times, but seeing all the work together and reflecting on the memories makes it completely worth it. It’s amazing how a painting from the past can bring a flood of moments back, engaging all the senses in a way only painting can.
Here’s to future adventures, and to the good, bad, and sometimes great paintings along the way. In the end, it’s all about the process and the memories held in each brushstroke.
Painting at Seceda
