Yes.. I couldn't put my finger on it, but when I saw the first version, I really liked it but I wanted something more somehow. Here you gave that "something more" and I am giving it a . Your friends did a good job on their critique.

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Thanks for all s and comments! Here's my New and Popular stuff, and I love seeing your experiments!

this is beautiful! Fabulous work on the detail and the colours are simply amazing. I love it

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c'est quoi, la normalité?

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bugün, yine yeni bir yaşam başlayacak...

like a photograph!

wonderful

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. . . train to nowhere . . .

I loved the original and I really like this revision, although I would have never personally noticed the issue about the depth. I grew up in the mountains and having ridges that reached up into the sky and obscured the distance was normal. I had a friend who moved from Nebraska to my home town who said it gave her claustrophobia.

I loved the middle ground violets and the shape of the middle ridges in the original, but perhaps you had to sacrifice that to give the sense of distance?

It's beautiful.

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"Uncertainty is the essential, inevitable, and all-pervasive companion to your desire to make art. And tolerance for uncertainty is the prerequisite to succeeding." David Bayles and Ted Orland

Wow! You made quite a few changes,but it opened it up more.You added a lot more light changing the angle of the background mountains and lightening the sky and adding more clouds to the horizon.There is more depth with the furthest mountain smaller and the next two lighter in color and angled downward.You added more light and color to the foreground which gives it a more open feeling and grassy detail and color to the bottom right corner..Changes the atmosphere to give it a brighter more open expanse,a cheeriness.The deep lushness of the greens disappeared with the shadows,but it looks quite breathtaking with the changes.

wow. amazing detail. really lovely!

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People don't fail, they give up.

Excellent!!!!

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WOW.... WOW... what a difference. This is really coming along. GREAT capture of depth... foreground, tree and background.

For me, the hill's edge is still a little... "knife-edge". I think that if you take that edge, and carefully mute that yellow and green by adding a little white to the colors ("pastelling" them down a bit), and let this stuff gradiate into the foreground, you'll have a rounded hill instead of that sharp edge. I think that edge is a little too "defined"... your colors don't recede, they're just as brilliant on that edge as they are on the foreground. I mean, it's almost there... but we still don't get that "miles and miles and miles" depth that I think you're trying to capture. I can tell you were already going in this direction but I think it could be pushed just a little further. You added white to that edge, but they're highlights. What I'm saying is, actually mute those yellows and greens a little further by pastelling them down a bit... push them WAY back, and then gradiate this stuff slowly and carefully, losing more and more white as you go, across the hill into your foreground, until you're not using any of that white, leaving the colors you have there. DON'T TOUCH THE FOREGROUND! It's luscious and beautiful and perfectly defined, and it suits your style wonderfully.

If the values start to run into the background, then add a hair... very subtle hair, of white to the edge, and let it bleed/fade into the background... capturing that line of moisture that defines the depth between shapes that we see in real life.

But otherwise, seriously... the touches you did to this thing made a huge difference. Great work.

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"What I experience or portray shall go from my composition without a shred of composition."
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