A funny thing happened on the way to the burnt sienna.
I am trying to get a handle on brown, particularly out of the tube browns, and I keep on getting sidelined. I went as far as choosing a mahogany platform, a model who's brown as a nut, and dutifully squeezing all sorts of ochres, umbers and siennas unto my pallette this time, but before I knew it, I'd also squeezed out some magenta, and naples yellow reddish, and lilac and shell pink and royal blue, cobalt violet and cerulean, nickel titanate yellow, and found myself wholly ignoring all the browns out of the tube. Oh my. I will try again, but obviously this is not the piece where I create in the classic fashion.
Maybe if I lock up all the other paint, I wouldn't be such a magpie in my approach.
Tripper leaves the easel
A closer look at this painting is now available in the "Tender Paint" category.
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One more go ought to do it- bring up some detail but not much more.
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I saw a portrait that is part of the Hispanic Society of America Show currently at the Chrysler Museum that helped me place a few of the missing puzzle pieces in my learning process. It was painted on a mahogany panel, and only part of the work had paint layers that were wholly built up- some of the panel was exposed, other parts stained. The color of the panel functioned as an underpaint. Now- there are always stray pieces of wood around my home, to include some fine mahogany plywood, and I decided that I wanted to figure out about painting on it so J. cut it into three pieces for me, two small and one larger ones, and off I went. The large panel is being dedicated to a figure, but the first of the small ones invited the painting of Tripper to come. Finally. I've tried to make sense of that portrait in waiting for quite some time- didn't know until last week that it wanted to be on mahogany. Go figure.
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