Did you just mention Monet again??? Ok, let's play this out!
You say Monet. I say Mann. I won! You say van Gogh, I say Zbukvic. I won! You say Vermeer... Yawn. Hey listen, I liked Chopin but in the meantime even the Beegees don't get me any more. I am up for something new!
Maybe you can imagine that for a startup painter it is quite hard to start up on the selling part of the game... Today is a great day for me on that part, a day i won't forget... Lucky enough a gallerist invited me to bring a view pieces to choose from...
I went there yesterday, bringing 18 pieces with me... to my surprise he took them all. Today he wrote me that 5 are sold. Hey everyone, keep in mind that lucky moments are rare and need to be celebrated accordingly! :-)
The upper picture shows what I painted today - a desaster of chalkiness. So I stopped it there and played with photoshop to learn what changes would make the painting look more acceptable... Higher color temperature, higher saturation, lower darks.
I did some oil paint mixing charts this morning to learn about the greens. In the upper chart all colors have the same value and fading towards gray in each column. The yellow on the upper left is a mix of cadmium yellow medium and burnt umber, the blue on the left is coelin blue tinted with white and the greens in between were mixed from these two. The decrease of saturation downwards was obtained by adding a neutral gray. What surprised me was the left column, which appears fairly green, not brownish. It doesn't come out quite as clear in this photo than in the original chart. So at lower saturations my color judgement "that's green" stretches much further towards the warm colors than I thought.
Even the indian yellow in the left column still appears slightly greenish, although I used a warmer gray to decrease saturation compared to the first color chart. To find a color observed in a landscape it is usually not necessary to know which exact mix of paints is used. In fact, most of the observed colors, especially the grays, can be mixed from a large number of tube paint combinations. Matching a color is much of a try and error game using the paints one has on the palette... Lighter or darker, more saturated or less, warmer or colder. However, this game can go wrong when some of the observed colors are not within the mixable range of the paints on the palette. And I think this is exactly what happened to me in some of my paintings with fairly light greens. I often did not have a warm yellow on my palette and I tried to mix those warm greens from cad red and cad yellow, which did not give suffiently high saturation and looks chalky in relation to other colors matched more accurately. > So is all you are trying to say that one needs a warm yellow on the palette? Yes :-)
A scene of the slabstick movie Naked Gun comes into my mind: famous singer Enrico Palazzo is shacked and has to watch police officer Frank singing the national anthym on tv, subtitled "Enrico Palazzo". Maybe Richard feels like Enrico seeing this :-D
Almost a third of my pleinair approaches result in failure - complete failure to be specific ;-)
I am not too unhappy with this ratio. Today I didn't manage to follow my original concept with the two towers being the focus of the painting. Also i started working on details too soon. I got confused and found myself working on different things simultaneously. Finally, in a moment of brilliant clarity I made two passionate strokes.
My second of the day brings me to about seven hours of painting at over 35 C. I'm born in July, i love it! A problem is the sunblocker though. The sweat carries it into the eyes where it burns quite good.