All about colour
May 21, 2015
This is the second oil painting in the series inspired by Rende’s photos of bottles against one of my previous still life paintings. See this post for the first one and some background info.
As I mentioned in the other post, painting something that is already beautiful is not my usual choice. But the richness he captured in the glass against the colourful painting spoke to me. I hadn’t worked with such saturated darks before, and I loved using them.
Nicholas Wilton’s latest post about colour is full of good practical information, a sort of Colour 101. And I appreciated that even though he gives workshops, he is generous about sharing his insights and knowledge for free as well. Basically he breaks down colour theory in painting to 3 main choices, and they all have to do with contrast. Are you going to use a dark or light colour next to your existing colour? Will it be saturated or diluted/toned down? And finally, will it be a cool or warm colour?
All these choices are going on instinctively while I paint. Even though I have a photo as reference, and this dictates my choices to some extent, effects, transparency, back and foreground can all be influenced by the 3 principles Wilton mentions. I’m starting on the third one now, a bit more ambitious as far as complexity. And it really does help to be more conscious of how the colour is going to work in the painting. Here are 2 previous phases of the finished painting above. In this one, after sketching in the approximate colours, I worked from dark to light and slightly more painterly than in number 1.
I’ve been concentrating on developing my oil painting for nearly 5 years now. Having a long career as a fine artist, graphic designer and calligrapher up until then, I already had a good foundation of drawing and composition. So I didn’t have to start from scratch, luckily. It has been mostly about learning the medium, and I’ve shared that process here fairly regularly. This is my first painting after a several months interlude of copying the work of some other artists. I learned a lot from that process, mostly about paint application and relaxing a little.
Basically I’m satisfied with this painting, it is another step along the way. What I am sure of, though, is that this isn’t my destination- ie perfecting realistic representation. I’ll talk more about that in a minute. Meanwhile, this has a nice story behind it.
Awhile back, I took a photo of a bowl of nectarines at my mother in law’s home and did a few paintings from it.
It eventually landed downstairs near where Rende’s computer is. We moved my bottle collection out of our show window and they ended up in front of this still life. (You may recognise some of my first paintings of this collection from several years ago.)
So the bottles against the still life caught Rende’s magic eye, and he made several photos, they were so rich and juicy and deep, they nudged me out of my uninspired period- I had to paint them.
Painting something that is already beautiful is a major challenge! The question is, what can you add? The painting all the way at the top is a response to the richness of Rende’s photo, but it is also about mastering technique to capture what moved me. I liked the sharp clarity of the glass against the fuzzy background; a special challenge was muting the fruit still life behind the glass to make it look out of focus as it was in the photo.
But technique is never the end goal, it is simply a tool. My journey in paint is away from rendering to suggesting. But I don’t know how to do that, so I have to keep doing one piece at a time and let the work teach me. I don’t know if anyone can see the steps made since the first glass paintings, but I am moving closer to painting the way I feel.
Also important to me, not quite achieved in this last painting is letting go of form to the extent that the canvas surface becomes interesting in itself. The rhythm of the brush strokes, the layers of paint, the texture of thick and thinly applied colours all are more interesting to me than depicting a real object perfectly.
I want to paint that way NOW. But take it from me, this process of discovering your own vocabulary of marks can’t be rushed or forced. In ‘Art and Fear’, by Bayles and Orland, (super book by the way), I remember something about how important it is to develop pleasurable working habits, and that these somehow also help you to find your work. I think even the set up of your palette could influence how you use colour, for example. One person might place the cadmium yellow closer and another might place it at a far end, so it is less easy to reach- so you just end up using the colour closest to you.
I watched a video of David Hockney painting one of his landscapes from his show ‘a Bigger Picture’. All his years of daily work just flowed out of his brush like a guided dream. He did one complete painting a day, and it looks so easy! But watching him taught me about working from back to front (sky first, then branches) in a landscape. It completely changed my thinking, so this is the set up for the next painting, same subject slightly different crop. I’ve sketched in the masses in the background and foreground, and am aiming to suggest more and work even more loosely.