It's back to slow painting. Portraits and architecture seem to need more care than landscapes or still lifes. After all, if you move a tree or a piece of fruit... no big deal. Displace a column or a nose, on the other hand, and the whole building or face collapses. That said, here's the slow beginning of a beautiful Parisian church facade.
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| 14" x 11" |
Wha a beautiful beginning. Is it mostly burnt sienna and ultramarine? I see a touch of green and maybe some red in the arch? You’re the master of architectural mark making!
ReplyDeleteSurprisingly, this is yellow ochre with dioxizine purple, and some ultramarine blue. I'm expanding my boundaries!
DeleteYou are so right. But once you get the structure correct you can get really inventive within it. And that’s what you do. I have to be so careful in the beginning because errors in composition ruin a painting for me no matter how well I do the other elements.
ReplyDeleteWell, uh, yeah…..when you choose such an intricate architectural subject and then are able to capture it. This looks like Sargent was your assistant here.
ReplyDeleteI don't know how slow that is, didn't you do all that in one class? Absolutely fabulous. And a great example of using complimentary colors for the 8 beginners in the class. Such a light, but exquisite touch you have.
ReplyDeleteThe violet/yellow combo, the riskiest of them all. And yellow ochre is a very strong yellow. You really catch on to the pattern of complex architecture decoration and extend it. That door looked so surely red in the photo, but now it looks like you could choose from a variety of colors that would all fit in,
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