I’m thinking about adding some pale floral elements to the blue field behind the current flower painting. They look so wonderful, changing as the light coming into the room changes, these patterns on a translucent curtain covering the eastern window.
Got to try a few of them out and see how it goes.
I love the color blue. Does it show?
- I can put more paint on the cloth in settled areas just to varigate the surface and to add further cover over earlier imagery
- I can experiment with putting some of the design of the background blue curtain in it to see how the pattern would work
- I can decide to paint over that tulip
- I can decide to keep the tulip but join it to the bouquet
- I can complicate the colors of the patterns in the green cloth even more just for the heck of it
- I can continue developing the flowers, though I want to keep them painty and abstract
- I can develop the bottom of the Limoges vase
- I can figure out the area of cloth nearest to the Limoges vase
- FIX the area of bouquet nearest to the vase rim — needs leaves, stems, something besides just the mass of dark green
My note to self above.
I rearranged the cloth again to get ideas. I used crumpled craft paper to shape the mounds this time. Got to remember that for future still lifes.
I’ve tinted the photo to have the cloth color match more closely the colors I’m using in the painting. This is such a fabulous cloth. One could make a wonderful painting of just the cloth. Drapery as landscape.
Here’s how the painting with the Limoges vase looks today after I spent yesterday working on the green cloth. It still has a ways to go but it’s getting closer and closer to my mental target.
I painted this picture over two other motifs. The first surprisingly enough was a painting of horses that I decided I didn’t like. Over the horses I painted the first flower motif, one that was very different from the picture as it exists this morning. In between was a version that included the Limoges vase but had different flowers. Here’s the trip back under the layers of paint.
Here’s how the painting looked in 2016 when I quit working on it.
And here’s the wild and wacky version of the flowers in 2011:
I wrote a blog about the wacky version here and here:
And here’s the picture of the horses, that dates back to 2008, that lies underneath everything:
So, is that weird or what.
I just hope the horses stay forever behind the other paint because I’m really loving the painting now.
I have been mesmerized by the grape-like thingy. I’ve been working on the grape-like thingy.
Well, you never know what part of the picture is going to arrest your attention, such as a grape-like thingy on a field of grass green.
Rearranged the cloth, to look for more thingies that grab my attention. Really lovin’ this green cloth.
I can’t help it. I’m just so excited about Instagram! Thank you to people who have found me! (My precious little group!) Now, for the rest of you out there in the wide world ….!!
Meanwhile, I’d probably garner more attention if I didn’t fool around with the tags — but I can’t help myself (that’s your cue to look at the tags).
Just trying to be clever.
I am approaching the current still life in a much less literal way and find myself loving this approach. Formerly I would have sought more fastidiously (not always more successfully) to duplicate the patterns as I see them in the actual still life. But with the green cloth in this painting, I’ve decide to shift the pattern elements according to my intuition. So the still life in front of me is a guide not a rule. And I can change the cloth around later on, if desirable, to get some other views.
Thus I’m very aware of myself interpreting the imagery. Now one might wonder how that affects the composition as a whole, and I’m being very subliminal about that as well. I stand back from the painting from time to time to see how it all looks. But as I am painting, I know that my brain sees a wider view than the thing I’m currently focused on painting. And I’ve decided to just trust my brain to arrange things in a holistic manner while my attention fastens onto this or that particular. Sometimes things will link up from top to bottom in ways you are not aware of having designed. You stand back, scratch the head, and ask “how’d all that get there?”
As long as the painting looks good all this is good too. Do not pry too inquisitively into the workings of the subconscious brain. When it goes well, a simple “thank you” to your right brain for its good functioning will suffice.
You’ve gotta trust your brain.
And thus I was able to photograph my painting.
Currently it hangs in the May exhibit at the Torpedo Factory in Old Town Alexandria. Very pretty light in the gallery today though there were areas of flooded streets just outside the building. Mother Nature dropped A LOT of rain on the Washington DC region.
Capricious Mother Nature.
Here’s a view of the installation:
I’ve set the flowers aside for a spell while I paint the cloth below the bouquet. Here’s the beautiful cloth that I’m looking at and interpreting for the painting.
You can be the
first second twenty-third to follow me! I’ve got a bunch of likes! (Thank you, likers!) Come join the fun. There’s a lot of wonderful artists there.
And me, I’m brand new there.
Here’s a link: http://www.instagram.com/alethamkuschan/
Here’s how the painting looks on Friday night. I put the study on a table beside the easel to make it easier to draw from. The picture begins to feel more solid after a day of work. I love painting that vase — and I’m not done yet. The paint all over the canvas is very thick because I’m covering up parts of the earlier version. There’s still lots of things to figure out, of course — like the entire bunched up green cloth that takes up the whole bottom half.
Here’s a closer view. The painting measures 40 x 30 inches.
What a fun day of painting, working on this picture. You cannot look at blue and green all day with scattered red and yellow and violet and not be in a terrific mood.
Still quite a ways to go. But I’m very glad with this stage.