Shown here is the Peach Cottage, on Fourth Street and a blue cottage at the end of Kenton Row, with a nice view of the lake from its northern windows.
The trick to making a successful composition with a building is to be keenly aware of how the eye enters the painting and where you want the center of interest to be. In the first painting the flowers are the draw and all the planes of the garage 'point' toward the flowers. The stairs and window are incidental but the color of the house itself will not be ignored so I made sure I modified the peach with a lot of green. I painted this on a gray day so there isn't a lot of contrast between light and shadow. The values are a lower key and the scene is actually quite muted,
The Peach House
The challenge with painting landscapes this small is always a question of what to omit. I think the more I leave out the better I like it. Up close the objects are just abstract forms but when they are placed together in an orderly manner they read as a house and a nicely landscaped lot. Red blobs are pots only because we believe them to be, not because they were painted with a great deal of accuracy.
That's a lake freighter in the background, along with a few boats. But we only know this because the horizon reads as water.
The End of Kenton Row