This was one of those things - you get the idea sort of wholly formed in your head and you almost break your neck to get it down. I have been thinking more about the full/empty idea, about crowding or stacking and contrasting that with empty space. Also, that format can be a vehicle for strong color relationships, which if they are successful, could carry the painting alone. Then there is the question of the ratio of light to dark (Peggi Kroll Roberts!) who says she tries to keep it 1/3: 2/3 dark or light - but what if it were all dark? Or all light? Or all saturated, etc. Justin Clayton did a winter landscape recently that was so uniformly dark as to not be there except for the pale moon. Very melancholy, I loved it. Very Albert Pinkham Ryder. In this one, anyway, I tried to crowd and isolate and also to let the light source be the green cloth. oooo I am in love with permanent green light.
I like your composition and reflections. It is so interesting to read your thought processes, too. Very nice!
ReplyDeleteAlso, thanks for the tip about putting medium on the paper before painting on it. I'm going to give it a try. :)
ReplyDeleteI really like this one, Jean! The surfaces of all the objects are so beautiful! Each one seems to glow. The red brushstroke on the small bowl is an unexpected touch. Just great!
ReplyDeleteJust glows! Great colors and love the reflections
ReplyDeleteI think it is the tunnel of love...the one in front is the driver
ReplyDeleteThis palette is a wonderful departure for you . . . it's exciting to see what happens with entirely different colors. I am seduced.
ReplyDeleteThe colors are wonderful!
ReplyDeleteVery nice balance of lights and darks. Perm green light is delicious.
ReplyDeleteThanks for all these kind comments. It IS a tunnel of love.
ReplyDeletea glorious gem...shades of Morandi.....love the simple reflective edges of the front bowl...and that cad in the corner....
ReplyDeletevery fine