Think I’ll go back for one more take on the darks.
Right out of the gate the birdbath stand was wrong, but I persisted, then went back and rubbed out what I could.
Blue/orange glazes. Then a wash of Quin Gold
Yellow/purple Wash Quin Gold
Harmonious yellows golds. From Lemon to Burnt Umber. Wash with Quin Gold.
Experiment with glazes. Each layer dries before the next painted over. Saving the lights but not the whites. To be continued. Maybe.
I love the Sargent master copy. Such lovely shadows. And you've totally captured the blue glass on the birdbath. The touches of rose and the highlights make it sparkle. Your landscape experiments intrigue me. They've become so rich and deep, but also misty and almost mystical. I especially like the last one; there's so much richness there in spite of being so monochromatic.
ReplyDeleteNot that it matters except it does a little, but I can't quite make out the subject of the landscapes. Is that a river running from the center to the lower right, silver in the light of the sky, and behind it hills or mountains, and what is that dark spot in the middle? I always favor blue and orange for complementary color things, but in this series I am giving first prize to the purple and yellow, which is the hardest duet because of the disparity in the power of the combatants.
ReplyDeleteOriginal image up for interpretation. Bumpy stuff at top distant trees. And a brook running down from behind a very dark bush. Very very vague.
DeleteCaptured the values really well on the Sargent copy- and that’s the secret to his success! Love the blue against the greens and yellow in the birdbath painting.
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