@toujours : you are right, although the photo may be darker than it realyl is, and the obvious candidate is the onion. I wanted to add more light on it, but the thick paint was too easily disturbed. Will wait it to dry and try again.
I love the contrast. Your loose brushwork really creates a mood as well. I’m especially liking your rendering of the glass…. Something that if you add too much, takes away from the transparency. Well done!
That bottle—your painting of it—is a thing of beauty. Exquisite. The Garlick sits well, as does the whatever-it-is to the left - is it a hop?
The fruit to the right, the squash, doesn't somehow seem to exist so happily to my eye. But I wouldn't worry about that too much: in fact, you shouldn't worry about it at all. I have an appalling poor appreciation of colour - to me, all colour contributes with is a dancing-up of form.
I think it's a fine painting, and I'd very happily give it prominent wall space any day.
The bottle is fantastic. The shapes of the loose brushwork are painterly and expressive.
The other items look as though you struggled a bit and the build up of paint got in the way. I’ve run into the same problem. The only solution is to carefully wipe off the paint and begin again. I keeps plentiful supply of cue tips handy for just such an occasion. I look forward to seeing your next work.
GTO, you are right, the bottle was easier to do, and just like most who commented, the play of light on it is what I like and it contributes into working in a relaxed way. But in such cases I keep the result to remind me of what can be done next time. I really want to transfer the same looser brushwork experience on larger format and other subjects, especially people.
Comments
Do you think a couple of very small and helpful highlights (titanium white?) may finish it off?
That bottle—your painting of it—is a thing of beauty. Exquisite. The Garlick sits well, as does the whatever-it-is to the left - is it a hop?
The fruit to the right, the squash, doesn't somehow seem to exist so happily to my eye. But I wouldn't worry about that too much: in fact, you shouldn't worry about it at all. I have an appalling poor appreciation of colour - to me, all colour contributes with is a dancing-up of form.
I think it's a fine painting, and I'd very happily give it prominent wall space any day.
With kind rgds, Lapis Lazuli
GTO, you are right, the bottle was easier to do, and just like most who commented, the play of light on it is what I like and it contributes into working in a relaxed way. But in such cases I keep the result to remind me of what can be done next time. I really want to transfer the same looser brushwork experience on larger format and other subjects, especially people.