Monday, March 7, 2011

"Sun-Kissed Iris" (oil on linen; 10" x 8") sold


Lately I have been re-reading Mark Christopher Weber's Bold Strokes: Dynamic Brushwork for Oils and Acrylics, which had got me into water-mixible oils in the first place a couple of years ago.  I thought I could use a reminder from him that I should be more decisive and energetic in my brushstrokes instead of being timid and overworked.  I did a preparatory value drawing, got the board ready, and generally diddled.  Afraid to be bold and decisive.  You've been there.

Eventually--about two hours later--I started painting.  Calculating that it might turn out to be a total flop, I was using a linen piece with another drawing on it; I covered it up with a burnt sienna wash.  Thanks to Weber, I even used, for the background mixture, raw umber--a color so reminiscent of the product of a certain bodily function that I avoid like plague.  I didn't fiddle; I really tried to be economical in brushstrokes. 

Once I got going, it took an hour from the start to the finish!  Wow.  The painting glows.  Is it because of the burnt sienna wash (who would have thought it would work for a purple flower)?  Or is it the strong value contrast?  I even like the raw umber/ultramarine background color.  There is really something to trying new things, pushing oneself beyond a comfort zone.  I am also happy to be back to daily paintings.

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