oil 8x8 inches click for purchase information
I bought fifty shades of gray fabric for drapery. Not really. Just seven or eight. Exploring different color schemes on gray, I have found that the gray is hardly noticed in the overall look of the work. It also allows me to adjust the gray to my liking. For "Emily and Madeline" I leaned it toward taupe. Here it's pretty much gray, and you'll see in the next post I leaned it toward green. I think I've finally solved my problem with backgrounds. I don't mean the gray, but rather reversing my process. Painting them first as a loose warm up really works for me. I get them out of the way, have a "support" for my objects, and can manipulate edges as I go.
Cette tangerine est la maîtresse femme de cette merveilleuse peinture... Elle orchestre cette composition en toute harmonie.ReplyDelete
Great painting. I like how the oranges stand out against the grays in your work. The books are so real yet painterly. I have been exploring grays too, trying to find mixes that work with the subject I'm painting. Sometimes I will compare Schmid's color chart in the book Alla Prima, with the colours in my image and use one of his mixes. I seem to use Terra Rosa and ultramarine blue a lot. (I should make my own color chart as he says). So much to learn!ReplyDelete
Nice. Very inspirational.ReplyDelete
The color scheme here is so warm and rich-really elegant!ReplyDelete
Your backgrounds are wonderful doing just what should providing a beautiful stage for the dynamics of your focus. Lovely work.ReplyDelete