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Summer Studio Sale

August 2025 - Patrick Okrasinski

This sale will be sharing work made this spring. The past few years, it has become a pattern that springtime is the start of the Plein Air season for me. The cold and dreary winter’s keep me and my easel indoors, and it is never as productive as I think it will or should be. Then comes spring, and the weather lifts my spirits and takes my easel back outside where it belongs. For the short window where it is comfortable to stand out in the sun all day, I do just that. For several months I paint outside almost every single day, until the hot summer sets in.

I have been reflecting on why this might be. I’ve realized within myself a difference between my habits and other artists. I’ve never been the type of artist that can happily sit down in my studio, pull out a photo, and crank out a painting. The times I have tried have always been flops in my eyes, void of life.

For me, producing work that I care about and feels genuine cannot be separated from the experience of actually being there and directly responding to the beauty that is out there in the real world.

This spring, I managed to bring home seven large works and 59 small paintings. There were also a few that did not make it. It was a productive season full of discoveries and growth. I hope you enjoy looking through these works, and I would once again like to thank everyone who shares a similar vision and supports this meagre artistic pursuit.

Sincerely,

Patrick

OVERVIEW

PRICE LIST

I LARGE WORKS

II MADEIRA

III FLORENCE

IV VENICE

V DOLOMITES

VI PARIS & LONDON pg 4 pg 8 pg 10 pg 20 pg 34 pg 46 pg 66 pg 78

PRICE LIST

I Large Works

I. Santa Maria della Salute, Afternoon

II. Santa Maria della Salute Sunset

III. Perseu Slaying Medusa

IV. Patina of the Ages

V. Via dei Servi

VI. Light in the Loggia

VII.Ospedale Degli Innocenti

II

Madeira

1. Dragon’s Tail

2. Sunset over cliffs

3. In the Midst

4. Sunrise on the Sea

5. Moss and Rocks

6. Pink Stone Beach

7. Near the Peak

8. Northern Coastline

9. Cliffs and Surf

10. Twilight over the Edge

11. Textured Cliffs

III Florence

12. Giambologna’s Sabines

13. Perseus at Evening

14. Baptistery Doors

15. Orsanmichele Tabernacle

16. Badia Fiorentina Interior

17. Chiesa di San Carlo dei Lombardi

18. St Luke the Evangelist, Patron of Artists

19. Vista over Florence

20. Santissima Annunziata Afternoon

21. Piazza Della Repubblica

IV Venice

22. Side Entrance to San Francesco

23. Green Harmony

24. Cannaregio Residence

25. Light, Brick and Red Stucco

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PRICE LIST

26. San Giovanni, Sunlit

27. Salute, Across the Grand Canal

28. Sargent’s vignette, Demo

29. Salute, Overcast

30. Salute, Late Afternoon

31. Salute, Early Evening

32. Salute, Late Evening

33. Salute, Color of Light

34. San Stae Pediment

35. San Giovanni Interior

36. Near the Rialto

37. Exit to the Lagoon

38. End of the Alley

39. A Canal Scene

V Dolomites

40. Breaking Light, Gardena Pass

41. Gardena Pass Golden Hour

42. Sella Pass

43. Seceda, Morning

44. Seceda, Afternoon

45. Lago di Braes

46. Panoramic Vista

47. View from Giua Pass

48. Morning from Santa Fosca

49. Mountain Stream

VI Paris & London

50. Trees, Luxembourg

51. Luxembourg Sculpture

52. Luxembourg Lion

53. Pont Neuf

54. Pont Louis-Philippe

55. Petit Palatis

56. Regent’s Park

57. Cloudy Day

58. Pond in Regent’s Park

59. Dappled Light

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I LARGE WORKS

These larger works are a continuation of my effort to expand my working methods and techniques outdoors. In recent years I have at times felt quite comfortable working in my usual scale. In someways I can relax in that comfort, but at the same time it can be equally boring and scary, leading to worries of stagnation.

Working larger creates a host of new challenges. Constantly returning to a scene, planning out the painting to not overwork too many areas, trying to maintain a unified vision throughout the entire process.

Working at this scale, I think back to stories of Sargent and Levitan- how they spent years working on paintings outdoors until satisfied. In the grand scheme of things, these painting are still quite small, but I know they are an important step.

I. Santa Maria d. Salute, Afternoon

18x20” $3000

A moment in the afternoon when the sun starts to shine across the front of the salute. The pediment casts an angled shadow, creating a cascade of lights on the four primary engaged columns. The white stone reflects a variety of tones, from the scene - blues from the sky, subtle reds in the dark accents, and warm ochres from the boucing sunlight. Crisp lines eist to separate light and shadow, and not the mior elements and featers found within the shadows, which are secondary to the big effect.

II. Santa Maria d. Salute, Sunset

16x24” $3000

The last light on the Salute. The sun settles down in the sky and as the shadows of the buildings across the grand Canal creep up the façade. Broad Penumbras connect transition the color from the shadows into the lights. Over many days, I would pack my bag and head down to the salute with these two large canvases, and work on them one after the other.

An important lesson from this piece was realizing that the color of the shadows also depends on the plane, and which direction it looks towards in the sky.

III. Perseus Slaying Medusa

23.5x31.5” $5600

An almost symmetrical composition of Perseus slinging Medusa. I liked the idea of a more formal composition to empahsize creatiing a visual focus and recession of space between each sculpture. I tried to balance the way our eye see’s the world, and the softness of what appears in our periphery, to draw attention the the weathered bronze Perseus. This was the largest painting from the trip, and I had to enlist the help of a friend to ship it back home (Thank you Dan Zalla!)

This is the one side of the Dumo, which I reckon may have never been cleaned. It is possible that it also because it faces north. Over the years the grime created a billiant patina on the otherwhise pale marble. The greens become earthy and rustic.

The cleaning of the Duomo has been a long term project, and this year I was freightened to see the scaffolding had moved to either side, so I wanted to capture the patina before it disappeared forever.

24x16” $3000

A southward view down one of the main streets leading to the Duomo in Florence. The cupola rises above the streets, and the high sun shines down on the very top of the terracotta shingles. Below, life moves on, as people crowd to stay on the shaded part of the street.

V. Via dei Servi

VI. Light in the Loggia 20x16”

$2600

A morning scene as the light streams in between the alley between the Palazzo Vecchio and the Ufizzi, as it shines down and creates a rim lighting on the Polyzena statue in the Loggia dei Lanzi. As the light shines down, it creates a warm, muted harmony from bouncing around the marble and stone.

19.75x15.75” $2200

Throughout most of Florence’s history, newborns could be dropped off anonymously through this small window. Above, a fresco is weathered and unclear in the soft lighting of the day. While in Flornece, I had watched Tim’s Vermeer, and was somewhat inspired to paint a softer effect. I thought the sfumato that naturally occured in the vaulted cieling of the arcade and dim fresco was a great oppurtunity.

VII. Ospedale Degli Innocenti

II MADEIRA

I was able to fit a short trip to Madeira in April, as the rainy months in the northern hemisphere began to subside, leading into this year’s plein air season.

Madeira has a temperate island climate, and a diverse landscape. It seems that mountain peaks are a short drive away from the shore. Unfortunately we happened to miss the enchanted, foggy forests this time.

9x12”

$600

In the spring time, Madeira is a beautiful island where blue waters meet jagged cliffs and green meadows. This was the first plein air painting of the trip!

1. Dragon’s Tail

2. Sunset over cliffs

9x12”

$600

Looking inward, clouds can often hover over the island. Here, the sun break through the tumultuous clouds, and reflects brights off the water down below. The light radiates off of the water a warms the adjacent cliffs.

3. In the Midst

9x12”

$600

In the middle of the island, roads hug deep valleys as they wind upward. Driving around you are surrounded by views like these. The clouds die the highest points, while a dense atmosphere turns the green mountain side’s blue.

9x12”

$600

A study of light across the horizon on the ocean, right before the sun rises above the clouds. In the morning, the clouds are perlescent.

4. Sunrise on the Sea

5. Moss and Rocks

9x12”

$700

Rocks on the eastern coast, covered in light green moss, with small tufts of grass growing in between. This painting focused on capturing the various materials as well as contrasting the forgroudn and background.

9x12”

$700

This rocky painting has hints of pink scattered throughout the scene. The broken color in this piece is an artifact from a young passerby. I guess no matter the day, we can always use a little pink.

6. Pink Stone Beach

7. Near the Peak

9x12”

In the middle of the island, you can sometimes find yourself above the clouds.

$600

8. Northern Coastline

9x12”

$600

The water reflects a break of color between the silver clouds and cerulean sky. The clouds are soft without any distinct edges, which offsets the sharp coast below.

9x12”

$600

Steep cliffs and crashing waves. This piece attempts a mosaic approach to the color notes of the cliffs, pushing the reds, purples, and ochres seen in nature.

Cliffs and Surf

10. Twilight over the Edge

9x12”

$700

With the sun at my back, the rich oranges and reds turn to a muted purple, as the light of the day fades across the Atlantic.

11. Textured Cliffs

9x12”

$500

An experimental and textural piece. I nearly never use my palette knife to apply paint, but It is good to get out of your comfort zone, every once in a while.

This year in Florence, I made a concerted effort to work on larger paintings en plein air. The time spent resulted in fewer pieces from Florence overall, but hey, quality of quantity, right?

Florence has now for years served as a source of inspiration for my paintings. Aside from the usual outdoor sculptures and buildings, I particularly enjoyed the chances I had to paint several church interiors, first in Florence, and also later in Venice.

12.

An important piece for me, this was done after attending a lecture at the Cecil Studios. I attempted to paint the focal and peripheral effects when we focus on a single object, as well as squinted much more. I found the technique to be very succesful, and the resulting organization of tone gave the piece a certain presence when viewed back home.

Giambologna’s Sabines 12x9” $700

13. Perseus at Evening 12x9”

$700

This smaller study helped me strategize for the larger version. At the end of the day, subtle reflections of blue and orange become visible in the bronze Perseus. Functionally, this painting helped serve as a color study, and while this was painted in one session, I was able to paint one section at a time on the larger version.

14. Baptistery Doors

12x9”

$600

Above Ghiberti’s baptistery doors is a sculptural depiction of Jesus and St John the Baptist. Usually I avoid splitting my canvas into two halves - a common rule - but in this instance I thought it fitting to give both elements an equal weight.

Orsanmichele houses a 14th century Gothic Tabernacle. The gold and lapis lazuli glitter under the spotlights, while parts of the tabernacle fade into shadow.

15. Orsanmichele Tabernacle 12x9” $700

16. Badia Fiorentina Interior

12x9”

$700

The Badia Fiorentina has a painted crucifix - gilded and painted panel, suspended by wires. The reflection of the gilding floating in front of the shadowy interior drew my attention.

One of the older and simpler church facades of Florence. There is a brief moment in the day when the sun shines on the facade and lights up the entryway and oculus above it.

17. Chiesa di San Carlo. 12x9” $600

18. St Luke the Evangelist

12x9” $600

One of the sculptures of Orsanmichele. St Luke the Evangelist, Patron of Artists. A fun fact, earlier this year it was pointed out to me that my confirmation name - Luke - is the Patron Saint of Artists. I think I must have googled and picked that out at the time, but had completely forgotten about it since.

19. Vista over Florence 12x9” $600

A view of Florence, from the park Piccolo Belvedere.

20. Santissima Annunziata Afternoon 12x9”

$500

A corner of Piazza Santissima Annunziata, done with the students of the Florence Workshop. Oftentimes, the fundamentals to painting are not flashy or filled with impasto, but good old fashioned analyziation.

21.

An experiment in key. Looking through the arches of Piazza Della Republica, the carousel and passerby’s are lost in the dazzling light.

Piazza Della Repubblica 12x9” $500

IV VENICE

The exciting factor for Venice this year was the uncovering of the facade of Santa Maria della Salute for the first time (for me). Likely half of my output from Venice is from the Salute, two larger pieces and seven smaller ones, inspired from various angles and weather effects.

Also noted in Venice are a small series of doors, which are ever inspirational, a church interior, and other typical Venetian scenes.

22. Side Entrance, San Francesco

$700

In the quieter corner of Venice, San Francesco’s bright orange paint stood out. This, and many other pieces, was inspired by Sargent’s paintings of Moroccan courtyards. The use of a script liner seemed to be revelationary.

12x9”

23. Green Harmony

12x9” $700

I was drawn to the harmony and texture of this scene due to the weathered green door, algae and slow water. People often say that green is the hardest color to paint well, but that is usually said in context of landscape painting.

24. Cannaregio Residence

Impasto builds up the weathered layering of this wooden door. It’s next-door to a building I painted several years ago, and I’ve started to notice that the wooden doors are starting to be replaced with metal or plastic ones. I worry in the future, Venice will run out of paintable entranceways

25. Light, Brick, Red Stucco

12x9”

Although a small part of the painting, this piece was a breakthrough moment in understanding the form of the small waves of the canals that lap against the buildings.

$700

26. San Giovanni, Sunlit

12x9” $600

A sunlit portal door of San Giovanni, focusing on the light and shadow in the marble columns. The capitals cast their shadows on the neighboring column shafts, concealing the striations of the marble.

12x9”

$600

An evening scene of the Salute, from across the Grand Canal. This time of day fascinated me, as I was able to study the subtle colors of the sunset against the white stone of the salute.

27. Salute, Across the Grand Canal

12x9”

A painting that begun as a demo from this year’s workshop. It’s fun to paint from the same pavers as Sargent must have, years ago. Venice has been a source of inspiration for so many of the artists of the past, and I think it is obvious why.

$600

28. Sargent’s Vignette

29. Salute, Overcast

9x12” $600

In overcast weather, you may be surprised at how dark the salute can be, in contrast to diffuse white overcast sky. This is a classic example of the difference between global and local color, and how white is not always so!

30. Salute, Late Afternoon

The sun is just starting to break onto the front facade, and catches the bases of the engaged columns. This painting, along with the following two, were paintined concurently over sevarl days, often changing them from my easel as the light shifted.

31. Salute, Early Evening

9x12”

$600

As the sun turns around towards the facade, the light becomes warmer. The engaged columns cath the sunligh, and the shadows start to become a more vibrant blue.

9x12”

$600

The light Eventually transitions into a deep orange on certain days, when the sun is lwo enough in the sky that other buildings are casting shadows on the Salute.

32. Salute, Late Evening

33. Salute, Color of Light

9x12” $600

This was an experiment in painting with my easel set up in shadow, instead of my usual raking light, and pushing the saturation, inspired by seeing the color choices of my friend Jared Brady.

9x12”

An expressive vignette of the pediment of San Stae.

$500

34. San Stae Pediment

35. San Giovanni Interior

12x9”

$700

The floor of San Giovanni is polished and irregular. The tall lancet windows in the apse can cause a beautiful reflection on it, which is hightened by the falling spot light shining in through the clerestory windows above.

36. Near the Rialto

9x12”

$500

An overcast day, looking across the grand canal, near the Rialto. This was the first demo of the workshop, so obviously, we picked a simple scene.

37. Exit to the Lagoon $600

12x9” $500

On the edge of Venice, a locked gate closes off a walled courtyard from the lagoon beyond.

38. End of the Alley

Patterns of brick and stucco make any alley in Venice into a picture.

12x9”

$600

9x12”

$600

The afternoon light shine in one side of this canal and the reflections go warm in the water below.

39. A Canal Scene

V DOLOMITES

The Dolomites has been a bucket list location for a while, and I was ecstatic to be able to paint there. The jagged, wild mountains were a sharp contrast to the baroque architecture of Venice. The rich atmosphere and dramatic lighting were enchanting.

Part of my strategy for this trip is to slowly travel north as the seasons progress, to try to time the most comfortable painting weather for the outdoors. We came to the Dolomites in Early June, apparently just before the busy season was to start.

40. Breaking Light 9x12”

$700

Moving clouds create dramatic shadows. While painting this, I remembered and important mastercopy I did of Albert Bierstadt’s Mercer River, throguh the Metropolitan Museum’s Copyist Program.

41. Garden Pass Golden Hour

9x12”

$800

Light breaks through to shine on the tops of these clouds and cliff faces. This was the second painting, done right after the previous painting, Breaking Light. You can see where the compositions overlap, and how the paintings are slightly different croppings of the same range.

Distant wildfires create a muted and grey atmosphere above the woods. The foreground is populated by stout spruce trees. Greens are in full swing in the Valleys.

42. Sella Pass 9x12” $700

The

and famous

43. Seceda, Morning 9x12” $1000

typical

view of Seceda. I just had to. Just Epic.

44. Seceda, Afternoon

9x12” $1000

Warm afternoon light and rich atmosphere were abundant this afternoon. This was a southward view from Seceda. This scene perfectly capture the bracketing of atmospheric perspective - as we move back into the distance contrast decreases in each succesive plane.

This was an exceptionally challenging piece that almost did not see I through to the end. Some locations are pretty, but not always paintable. I kind of wanted to try to paint on a little rental row boat, but it seemed my friends were not bought into the idea. Shout out to Pavel Sokov for the pep talk, as well as comedic relief, for this painting to get past the finish line.

45. Lago di Braes 9x12” $600

A demo done for the Patreon, focusing on the perspective of greens receding into the distance.

46. Panoramic Vista 9x12” $600

A vertical composition of the mountains from a lesser known.

47. View from Giua Pass 12x9” $600

Morning

A cold blue morning, as the light breaks on cliffs of patchwork of greys and golds.

48.

from Santa Fosca 9x12” $600

A small stream making its way downward.

49. Mountain Stream 9x12”

$600

VI PARIS & LONDON

The last locations were Paris and London. I spent roughly a week in each location for the two plein air workshops I lead. I found Paris to be better than I had remembered - the first time I found my self in France, I was still too intimidated to attempt any sculptures or cityscapes. The combination of sculpture and and architecture in the Beaux Arts style was amazing, and I hope to return one day for a longer painting stay.

I wish I had more paintings from London, but by then I was running out of steam, and the only work left was made as demonstrations for the workshop, in Regent’s Park

50. Trees, Luxembourg

9x12”

$500

A green vignette from the Luxembourg Gardens. This was the first demo from the workshop in Paris, and went over the typical essential landscape ideas- masees, angles, composition, mixing green, and so on.