Cody DeLong Studio

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Portugal
Porto
Cody DeLong Studio

Lifelong Artist Working in Oils for over 30 years
Commissions Welcome Semi-retired artist

19/06/2026

Two big ones found new homes this week!
Thank you Mountain Trails Gallery of Sedona
Happy feet 🌟

If you want to know when new work is available before it gets to a gallery, the link is in my bio.

17/06/2026

I start some of my paintings (not all) on an orange ground.
Not because it looks interesting at the sketch stage — though it does — but because of what happens
later. When you paint over a warm surface, the orange bleeds through in the thin spots. It unifies
everything. It makes the shadow areas feel lit from inside rather than just dark.

For Sedona especially, it's the right call. That light in the Southwest has heat in it. Starting on orange
means I'm not fighting the canvas to get there — it's already working for me before I put down a single
brushstroke.

It's a small panel, and I had to stop yesterday at this stage because I stand when painting, and my knee started swelling.

Today I'll be back at it, working on the sky. Wish me luck.

17/06/2026

I start some of my paintings (not all) on an orange ground.
Not because it looks interesting at the sketch stage — though it does — but because of what happens
later. When you paint over a warm surface, the orange bleeds through in the thin spots. It unifies
everything. It makes the shadow areas feel lit from inside rather than just dark.

For Sedona especially, it's the right call. That light in the Southwest has heat in it. Starting on orange
means I'm not fighting the canvas to get there — it's already working for me before I put down a single
brushstroke.

These two are in progress now.
It's a small panel, and I had to stop yesterday at this stage because I stand when painting, and my knee started swelling.

Today I'll be back at it, working on the sky. Wish me luck.

15/06/2026

Nearly two weeks out from shoulder surgery and I finally made it back to the easel this morning.
Nothing dramatic — just two small panels sketched out, both Sedona scenes.

Canyon walls I've
painted before and will probably paint again. There's something about that red rock country that doesn't
let go, even when you're living in Porto.

The shoulder held up. We'll see what the painting demands of it.
More this week as these develop.

12/06/2026

Porto has a particular kind of rain.

It comes in sideways off the Atlantic, turns the cobblestones into mirrors, and wraps the city in a
blue that's not quite grey and not quite purple. If you're from the American Southwest, where rain
is a rare and violent event, this kind of rain takes some getting used to.

I've gotten used to it. More than that — I've started looking for it.
Because when it rains at dusk in Porto, the shop windows do something extraordinary. The warm
light inside them ignites against the cold. Your eye goes straight to it.
Everything else — the buildings, the street, the sky — recedes into blue, and that small rectangle of amber becomes the
whole painting.

The figure is incidental. She was just walking past. But she makes it human.

Blue Rain — oil on canvas, 50x30cm (20x12in). €650, unframed, shipping included. Available. DM
me if it speaks to you, or link in bio to get on the collector list and see new work first.

10/06/2026

The whole painting is built on a lie.
That blue — the one that fills most of the canvas — it's not one color. It's twelve. Ultramarine,
cobalt, a little dioxazine purple, raw umber to knock it back, white to lift it. The eye reads it as one
unified cool field. The paint surface knows otherwise.
Night scenes work like this. You have to build the dark carefully or it goes dead — flat and lifeless.
The key is keeping it alive with variation you can barely see. The viewer shouldn't notice. They
should just feel like they're standing in the rain.
The warm window is the easy part. One loaded brush, cadmium yellow, some orange pushed into
it. It takes thirty seconds. The blue took three hours.
That's usually how it goes.

Full reveal on Friday...

08/06/2026

Six days out of surgery and I'm already restless.
The shoulder's not ready for a brush. Won't be for another week or so yet. So I'm doing what painters do
when they can't paint — I'm drawing.

Little pencil sketches, nothing precious. Compositions I want
to try, light situations I've been storing in my head, ideas for paintings that don't exist yet.
There's something useful about this kind of forced pause. You stop executing and start planning.

The sketches are rough — they're not meant to be finished things, I'm playing, like a kid. They're more like notes to
myself. A reminder of what I'm going back to when the sling comes off.
The pipeline is full. Watch this space.

Also just got this one back from the framer, what do you think?

■ New here — I'm Cody DeLong, oil painter based in Porto, Portugal. Landscapes, cityscapes, a
lot of light. Originals and prints available — link in bio.

05/06/2026

There's a week or two every spring when Porto stops being a city and becomes something else entirely.
The wildflowers come out along the riverbanks. The light goes soft and diffuse — that particular northern Atlantic quality where everything glows without harsh shadow. The Douro turns a color somewhere between green and blue that I've never been able to name exactly.

The red boat had been there a while — you could tell. But with the flowers coming up around it and the bridge cutting through the haze in the background, it looked like it had been placed there by someone who understood composition.

Some paintings you have to wrestle. This one just wanted to happen.

I meant to post this before my surgery. Here it is now.
Spring along the Douro — oil on canvas, 50×40cm (20×16in). €650, unframed, shipping included. DM me if it speaks to you, or reply below. Link in bio to get on the collector list and see new work first.

29/05/2026

New painting: Other Side of the Tracks — oil on canvas, 80×60cm (31×24in).

The title works on two levels.
The literal one: a view from the tracks in Porto — one of those quiet urban moments where the geometry of the city opens up unexpectedly. Rails, rooftops, the particular light that hits the old buildings in the early morning before everything wakes up.
The other one: me. Four years ago I was showing work in Arizona. Now I'm painting in Portugal. If that's not the other side of the tracks, I don't know what is.

I've been leaning into more abstraction with the Portugal work. The Southwest paintings I'm known for are about grandeur — space, canyon depth, that enormous light. Porto asks for something different. Compressed. Layered. The beauty here is more intimate and you have to look for it.

This one is available — $1,500 USD, oil on canvas, unframed, shipping included. DM me if it speaks to you, or reply below with questions. I'm also building my VIP collector list — link in bio... be first to see new work, hear new stories, get freebies and more.

27/05/2026

Here's a little peek into my design process for cityscapes.
This is a Porto cityscape I'm working on — and yes, that's masking tape. It's not a mistake. It's me thinking out loud on canvas.
When a composition has strong architectural geometry — rooflines, shadows, the hard edge where a facade meets the sky — I'll sometimes tape off sections to audition where the abstract passages will live versus where I need to commit to a specific shape. It's a way of holding the decision open a little longer.
Porto has this quality where the old and the modern are stacked right on top of each other. Azulejo tile from the 1700s next to a glass apartment building. I want the painting to feel that way too — part careful observation, part pure paint.
The tape comes off before the final layers. What you see underneath determines everything.
Friday I'll show the finished piece, stay tuned...

Endereço

Porto

Website

http://www.codydelong.com/

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