Working in the studio is a challenge for me. It is so different from plein air painting where you maintain the freshness and spontaneity of the moment. Painting outside I am also usually with other artist friends who share ideas. Now I am isolated in this bubble that is my studio.
I've been working on this 20x20 oil painting using an 8x10 plein air reference that I painted on location at Wildwood Lake. I am not using photos - only my plein air painting and memory. I have been fussing with this for awhile and am having a hard time being objective about it . I would appreciate a critique/opinion from my Daily Painting friends. I am open to all feedback, not just the nice comments.
9 comments:
I think, Julie, this is wonderful just as it is. One thing I would make different - get rid of too much of left to right symmetry (left side almost mirroring the right side.) Maybe I would keep the bright red grass only on one side or do something else to make it look more different. It is just a suggestion for the future works. But at this stage where you are now, I just would live it us it is. It is lovely.
Thanks Tatiana. That is actually a good observation and something I did not even notice since I have been staring at this too long. I appreciate your feedback.
You are very welcome, Julie!
Julie - I would know where this was without your even mentioning it - you have really captured the place.
I noticed the symmetry in the foreground also - perhaps you could paint some more of that purple loosestrife into the area that is higher and to the left above the existing clump on that side, making sure it bisected the lotus so that the tips of the flowers would extend into the brownish water area, and run off the edge of the canvas. If you can even decipher this...does it make sense?
Julie, first of all it is courageous to ask for honest critiques. That is great because you aren't afraid to improve. So many of us take criticisms personally, not realizing that isn't necessary. I agree about the symmetry, but also the little inlet in the back visually takes us right down the middle. For me the background seems unfinished and the foreground seems somewhat contrived. Maybe the light distribution is confusing, clear in the foreground, hazy in the middle-ground and background Also the water seems to cut this painting into two separate masses. My question would be, why not be satisfied with the plein air study? I've also struggled with enlarging the study. Usually the spirit gets lost in transition. Next time take the 20 x 20 out with you and go for it! You definitely have the skill to paint this size on location. Just use bigger brushes and more paint. And the result will be awesome.
I really enjoyed reading through this post and comments. Fantastic!
Thanks for all those wonderful comments--they have enlightened me as well--been stuggling with a purple sunrise painting--if I find the courage I will ask for help too.
Thanks so much Claire and Ron. I greatly appreciate your insight and do not take anything personally. In art school I always found the critique sessions most valuable and I think I am missing that now. Maybe at some point I will be able to look at my work more objectively and know right away what is wrong, but for now I am thankful for some additional experienced eyes.
Your observations are 100% correct. These all seem like relatively easy changes (the beauty of oil paint), with the exception of taking the canvas to the site which is now all brown sticks. I may repost this painting again after I've worked on it some more.
Looks just like I remembered it!
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