Another way I bring the zones into unity, and the entire thing into reconciliation with the picture-plane is with interlocking compositional lines. There are two main diagonals, one running through the main poles, and the other passing from the bottom left of the sky into the blackberry bush. These two interlock with the two horizontal strokes of warm, bright green, one under the line of distant trees between the main poles, and the other under the bush, continuing into the road. Two "ghost planes" interlocking, if you will. Focusing on this, you can literally feel the image pulling itself flat out of space.
A strong internal tension is created by setting off the angles of the poles against the calm horizontals of the earth and sky, and the contrast they make against the rigid verticals of the edges of the picture plane. The angles of the poles are quite true to life, though. A "found" poem, and not sitorted, as one may at first suppose.
There is some other subtle poetry in this piece I find particularly pleasing, but I'll let you spend some time on it ;). I've already largely let the cat out of the bag--all but the tail, in fact.
I had started with the top of the sky too pale and blue, and thought I might have to wait a week to repaint. But I overpainted wet-into-wet with a darker grey and got the exact effect I wanted: the bottom of a raincloud lifting off. Nice to nail it like that.
"Alone on a train aimless in wander,
An outdated map crumpled in my pocket.
But I didn't care where I was going,
'Cause they're all different words for the same place.
The coast disappeared when the sea drowned the sun,
And I knew no words to share with anyone... ."
--Death Cab For Cutie
Funny how, on the surface, what may be taken for undramatic scenery, can have the most to offer. The pic for this painting was shot just up the shore from "Farm in Delta".
And that is the same raincloud lifting off.
Who obtains this, obtains a masterpiece.