But my objective in this painting is to move the viewer through and upward rather than across the space. I first squared the composition in order to equalize the vertical and horizontal and then employed practically every pictorial device to emphasize the third dimension (depth) and upward thrust.
The result is fairly quick movement from foreground, up and over the slight hill, and then reverse movement back and up to the clouds. The movement is quick but the air is thick; a hot summer atmosphere. This is the full, deep, relentless green of mid-summer: nothing like the broad color range of my usual late fall/early spring landscapes. And this was the most difficult aspect of the painting.
Green paintings are the most difficult which is why there are so few of them. The great landscape painters like Corot, Inness, and Welliver employed green very sparingly and never produced green paintings.
The greatest painter of green, Henri Rousseau, created surrealistic dream-like images, capitalizing on green's psychological qualities. This is the approach taken by Gillespie and Kelly more recently, which I have sometimes tried to emulate in some of my figure paintings.
Titles can be be evocative as long as the feeling/sensation is the same as the image and is not meant as an augmentation: see Richter's "January".
That is very close to the underlying investigation (content) of all my landscape drawings and paintings.