Last Light
North Quay Gallery · Seascape · 2025- Medium
- Oil, with transparent glazes
- Support
- Linen and oak panel
- Sizes
- 30 × 40 cm to 100 × 180 cm
- Painted
- June to September 2025
- Shown at
- North Quay Gallery, Wrenhaven
- Available
- Prints of Amber Sea
Everyone paints the sunset. I wanted the twenty minutes after it, when the sky keeps going and the land turns black.
The bay faces west, so from June to September the sun sets straight into it. I painted from the hill above the studio most clear evenings.
The trick is to stop looking at the sun. The color you want is behind you, on the clouds to the east, and in the water near your feet.
The large canvas, Last Light over the Bay, took three weeks. Every evening I added one layer of glaze and no more.
A flat calm and a sky with nothing in it. The easiest painting of the summer.
Smoke from a fire inland turned the whole harbor orange for three nights.
The last one was painted inland, at the lake, when the bay was in fog.
Plates 05 Last Light · 2025
The glow is built in glazes: transparent orange over a dry layer of lemon yellow, then a thin rose madder near the horizon. Thick paint would kill it. Thin paint lets the light through.
- Glaze
- Transparent orange, rose madder
- Medium
- Stand oil and turpentine
“Marrow paints the sky the way it feels when you should be heading home and you stay.”
Four canvases from the studio wall.
Last Light · Oil on linen and panel · 2025-
01 Last Light over the Bay -
02 Amber Sea -
03 Harbor Fire -
04 Pink Evening
One painter, one studio, last light.
Full credits
Behind the series
- Painted by
- Odile Marrow
- Stretchers
- Teo Lindqvist
- Frames
- Ashby and Rowe, Wrenhaven
- Photography of the works
- Mira Castell
- Shown by
- North Quay Gallery
And every clear evening of one summer.