This painting, Amsterdam Rooftops, carries layers of personal and artistic significance. It stems from a memorable 2010 vacation my wife and I took to Amsterdam to visit our son Kevin, who was living in a remarkable Dutch Golden Age apartment from the 1700s. Spanning multiple levels with access to the attic, it felt like stepping into an old pirate ship—steep, creaking wooden stairs, centuries-old aromas, and a kitchen on the third floor with a double door that opened to a small patio with an astonishing view over the rooftops. That vista was pure fantasy: a labyrinth of gabled houses, chimneys, and balconies stretching into the distance, evoking eras long past.
The entire trip was profoundly inspirational. Walking through Rembrandt’s actual painting studio in his former home, seeing the space where he worked and applied his glazing techniques, left a lasting mark—I still incorporate those methods today. Visits to the Van Gogh Museum only deepened the immersion in Dutch artistic heritage. Kevin’s apartment, Rembrandt’s studio, Van Gogh’s works—it all blended into an atmosphere of history, creativity, and family connection that continues to influence my work.
I began this painting in 2020, the only one I completed that year. Kevin, also an artist (kevinyaun.com), suggested using a limited palette to suit the inherently gray, atmospheric subject: Mars Black, Ultramarine, Cadmium Red, and Cadmium Yellow. I was excited by the challenge and thought it fitting, but upon finishing, the result felt flat—lacking impact and vibrancy. Disappointed, I set it aside.
In 2023, I pulled it out again, studied it from across the room for about five minutes, and knew exactly what was missing. I squeezed out Cadmium Orange and applied a deep, unifying wash over the entire surface, instantly transforming it into a late-evening sunset scene with warm, glowing light. I then added Ultramarine glazes to deepen the shadows, evening sky, and cooler areas on the right. The whole adjustment took no more than 30 minutes, yet it elevated the painting dramatically—now receiving much admiration for its atmospheric depth and emotional resonance.
To complete it, I handcrafted a beautiful Honduran Mahogany floater frame from wood my father brought back from Honduras in the early 1970s. I’ve saved this special material for pieces with particular meaning, and it frames this one perfectly.
This 24″ × 36″ acrylic on wood panel, painted in the studio with impressionist techniques, is Available.