Les had bought some mums in the Fall, and these looked perfect in the light. I set up my easel on the front porch to tried and capture them.
Here is the last of the peach bowl paintings and the last one for the year from me. It’s sort of an odd composition and cropping but we ended up liking this one best and I did the 48″ x 48″ with this layout. That one is not done but I’ll post it once it’s finished up. Happy new year!
Here’s the third of the 6″ x 6″ Peach Bowl paintings. It’s almost identical to 2017 and the only real difference is the angle and cropping of the bowl. It felt too symmetrical in 217 so I tried to vary the weight a little bit.
I felt like something was off with the earlier Peach Bowl paintings and decided to step back and think about the way I was approaching it. Instead of doing the Burnt Sienna underpainting, I had jumped straight to the color and so I decided to try one as a monotone. In the Richard Schmid book, Alla Prima, he talks about monotone paintings being basically drawings. So, with this version, I was basically taking some time to stop and draw the composition before moving on with the color.
Here is the second of the peach bowl paintings. I was trying a different arrangement here to look at more of a 3/4 view vs. directly above. I never really got this one where I wanted to. The blue shadows on the bottom are a little too hot but it was worth a shot.
Here is the first of what will probably be several paintings of peaches. Leslie had requested a huge painting of some peaches in our dining room so this is the beginning of that process. We bought a bag from a fruit stand this summer on our way back from the country and I specifically picked one out that still had the leaves attached. It’s also fun because we found the antique wooden bowl on the same trip. They are a nice reminder of the summer in this cold, wet weather..
Here is the last (I think and hope) of the pomegranates. It felt like I had too much white in the shadow areas of 196 so I toned that down and gave it move Alizarin and Cobalt Blue in those deep areas. It helps too that this canvas is a little larger.
This is the last of this first group and I think I like it best. I used a base of Burnt Umber and it was at about 50% opacity so the base was relatively dark. I just like being able to let the raw/toned canvas show through instead of using a color to lighten it.