The Red Pickup Truck By Eric Buechel

Eric Buechel
Jul 14
4 min read

This painting began its journey during a delightful weekend of antique hunting that my wife, Kathy, and I embarked upon. We decided to explore the charming town of Lebanon, located in Wilson County, Tennessee, a place rich in history and filled with quaint shops and hidden treasures. As we drove through the picturesque streets, my wife, who is the designated driver on our excursions, expertly navigated the winding roads. Suddenly, she pulled over to park the car, and it was at that moment that I spotted a striking red truck making a swift left turn. The sight captivated me instantly, and I recognized a potential masterpiece just waiting to be captured on camera.

With my camera at the ready, I quickly snapped a photograph, fully aware that this image could translate beautifully into a painting. My creative process often thrives on spontaneous moments like this, where inspiration strikes unexpectedly. Kathy has learned that when we are out together, I tend to keep my eyes peeled for scenes that ignite my imagination and spur my desire to create. This is precisely why she encourages me to take photographs while seated comfortably in the passenger seat, allowing her to focus on the road. I must confess that many of the images I capture often end up languishing on my hard drive in a folder I affectionately refer to as "maybe one day land." However, this particular photograph stood out as an exception, a true gem that I felt compelled to bring to life on canvas.

The red pickup truck resonated with me on a personal level, as I once owned a similar model from around the same era. After our antique hunting adventure, we made our way back home, and the image of that truck rested in my Canon camera for about a week or two. During that time, I eagerly anticipated the moment I could review the photos, hoping that one of them would inspire a new project. When I finally sat down to inspect the images, my heart raced with excitement. Upon seeing the photograph of the red truck, I immediately recognized that I had discovered something special—an image that was ripe for transformation into a painting.

Next came the crucial decision-making process regarding the medium I would use for this artwork. I contemplated whether to work with watercolor or oil paint, ultimately settling on oil for its rich texture and depth. Additionally, I had to determine the size of the canvas, and I opted for a substantial 30" x 40" canvas, a dimension I have always favored for my larger works. This size provides ample space for me to express my artistic vision and allows for the kind of thick, expressive brushwork that I love to employ.

Before applying any paint, I prepared the canvas meticulously, using plenty of gesso in two applications to ensure a smooth surface for the sharp lines to come, particularly on the brick portion of the painting. This preparation is vital, as it enables me to create both fine lines and beautiful brushwork that invites the viewer to engage with the painting on a tactile level. In my oil painting practice, achieving a textured surface is paramount; it adds a dimension that beckons the viewer to reach out and touch the artwork.

I approach my work with careful planning, leaving little to chance. This includes selecting the right colors for the base layer. For this particular painting, I chose "Indian Yellow Orange Lake" by "Old Holland," a vibrant and warm hue that would serve as a perfect foundation. I thinned the paint using "Gamblin Gamsol Odorless Mineral Spirits," applying it delicately to the canvas and then wiping off the excess with a lint-free rag after about thirty minutes. This technique not only enhances the luminosity of the colors but also prepares the canvas for the subsequent layers of paint.

After I had penciled in the image and made necessary corrections to account for any distortions from the camera, I dedicated roughly two days to this preparatory phase, ensuring that every detail was accounted for in the drawing. My approach varies depending on the subject matter; for portraits, I typically start with a sepia base, while for landscapes, I dive directly into color, sometimes incorporating a touch of sepia and black to define the shadow areas.

Once I have completed the majority of the painting, I allow it to rest for a week, giving myself the opportunity to return to it with fresh eyes. This period of reflection is crucial, as it enables me to identify areas that may require adjustments or enhancements. After making any necessary revisions, I wait an additional week or two before applying a glaze to certain areas. This glazing process serves to enrich the tones and colors, adding depth and vibrancy to the overall composition.

Finally, once the painting has reached its completion, I may choose to add a thin layer of varnish about three weeks after finishing. This is typically followed by a full coat of Demar varnish approximately eight months later, further protecting and enhancing the artwork. The entire process of oil painting is incredibly intricate and time-consuming, often requiring far more dedication than working with acrylics, which can sometimes yield a flatter, more graphic appearance. In contrast, the depth and richness of oil paints offer a unique quality that I strive to capture in every piece I create.