I paint landscapes in my signature “open impressionism” style. My colors are inspired by the vibrant hues of dawn and sunset. To keep my paint colors pure and un-muddied, I work with a limited palette of only five colors, and I pre-plan every painting so that when it comes time to paint I can place each brushstroke perfectly the first time, without layering. This gives a unique mosaic or stained glass appearance to my work.
Crystal Path, oil on canvas, 36 x 48” (91 x 121 cm) Crystalline light filters through the boughs of this oak tree, casting scintillating shadows across the pathway. The colors in the painting are vibrant and alive with light, while the thick texture of the oil paint creates a dynamic sense of motion. This piece shares elements of my two most popular collections: Crystal Light and The Path. These collections celebrate the mosaic patterns created by the play of light and shadow when a tree is backlit. They also rejoice in the colors that become visible as you study light in the early morning or early evening.
Wildflowers in Bloom, oil on canvas, 30 x 40” (76 x 101 cm) Rows of lavender blossoms and wild poppies radiate color in this northwestern landscape inspired by Sequim, Washington. Thick strokes of oil paint curve and swirl through the grasses, pulling your eye to the distant mountain range. This composition is filled with shapes and distinct patterns that bring the viewer into the piece, allowing them to stand in the middle of a lavender field and truly feel the sensory experience. Each brushstroke is placed deliberately, and the colors remain un-muddied, which is vital as the greens could have easily blended into each other and cloud the piece.
At dawn, you will find me photographing the countryside, national parks and other natural landscapes. I look for striking color combinations that occur during the golden hour, and I also seek abstract shapes and compelling negative spaces. I hunt for compositions that have a natural rhythm.
Back in the studio, I sketch compositions with paper and pencil and decide which pure pigments will showcase the colors I discovered in nature. I am an impressionist, so my paintings also capture the emotions stirred by being outside, surrounded by open nature. Once I’ve determined the pure colors to use, I hand-mix my palette and create a color theme for the piece.
Cypress Waves, oil on linen, 36 x 24” (91 x 60 cm) Curving waves of white foam swirl at the base of Lone Cypress, off Seventeen Mile Drive in Pebble Beach, California. The impressionistic color is vibrantly alive, capturing the emotional impact of seeing Lone Cypress in person. I often paint in and around Monterey, as I have a gallery in Carmel-by-the-Sea. This part of the California coastline is filled with natural vistas and is endlessly inspiring. I have painted Lone Cypress many times, and each composition looks at this remarkable tree from a new angle and shares the emotion I felt while capturing the image.
Cadmium Tulips, oil on canvas, 36 x 24” (91 x 60 cm) Ruby red tulips bloom in Woodburn, Oregon. The overcast sky makes the vibrant colors of the flowers richer and more saturated. Each brushstroke is thickly applied without layering, capturing my impressions of the scene. In this piece, I contrast the bright flowers in the foreground with the cloudy spring dawn. The incredible florals and variety of Oregon landscapes lured me to the Pacific Northwest, where I opened my flagship art gallery. My gallery is in Oregon wine country, and every season brings new colors, different qualities of light and incredible shadow play that I find fascinating.
From there, I create an underpainting sketch directly on the canvas. I use my underpainting as a guide so I can place my brushstrokes precisely to execute my vision onto the canvas. Because I have predetermined where everything will go, and my palette is premixed, I can use my brush with assurance, setting each stroke accurately the first time the paint touches the canvas. —
About the Artist
Erin Hanson
Erin Hanson began painting as a youth, voraciously learning oils, acrylics, watercolor, pen and ink, pastels, and life drawing from accomplished art instructors. She began commissioning paintings at age 10. By 12 years old, she was employed by a mural studio, learning acrylic techniques on the grand scale of 40-foot canvases. Two years later, a high school scholarship took her to Otis College of Art, where she immersed herself in figure drawing. Graduating high school at 16, Hanson next attended UC Berkeley, attaining a degree in bioengineering.
After graduating from college, Hanson entered the art trade as a professional, inspired by landscapes and vantage points only beheld by the most adventurous. Rock climbing among the brilliantly colored cliffs of Nevada and Utah and watching the seasons and the light change provided endless inspiration for her work. In these beautiful surroundings, Hanson dedicated herself to creating one painting every week for the rest of her life. She has stuck to that decision, and for the past decade, has been developing a unique technique of placing impasto paint strokes without layering, known as “open impressionism.” As other artists began emulating her techniques, Hanson is credited as the pioneer and originator of this contemporary style.
Through the years, Hanson has continued to use the outdoors to inspire her work. She transforms landscapes into abstract mosaics of color and texture, her impasto application of paint lending a sculptural effect to her art.
Contact at
amy@erinhanson.com
erinhanson.com