In this demo painting in the Rees Valley I focused more on the beautiful colour in the foreground and reduced the importance of the mountains by cropping them out but the longer painting below made use of all the elements in the scene. These were painted just a few days apart, in very similar light, hinting that, just as Monet found, every scene has a practically infinite abundance of possibilities for the landscape painter.
I used a soft shadowed effect in the foreground of both paintings to drawing the eye into the colourfully lit midground. To that end I also use much larger and soft edged brushwork in the close foreground. I use these effects in many of my paintings.
The spotlight effect can also be added later by glazing darker transparent colours like Alizarine Crimson over the foreground. Soft edges are better made wet in wet though.
Videos lessons about painting mountains: https://mypaintingclub.com/shop?type=Online&p=1&paint=mountains