More from Venice Italy

Man with Red Umbrella – 16×20 Oil Painting on Panel by Winifred

Not a single floral this time! At some point, and very soon, I will post the entire collection of my paintings from Venice – I have many favorites. The image above has been posted before, I am posting it now because I am sure many have not seen it, and because I don’t have a new painting ready this week. I’ve been working on 2 paintings simultaneously – and neither is complete. I’ve been slow because I wanted each layer to dry before continuing to paint and because it has been a very busy week with other matters. Below, however, you can see what I’ve started. Hopefully, I’ll get them finished next week – not sure, both have a long way to go.

There are many painters who could get to this stage rather quickly, because they paint fast – which I don’t, or they may trace a photo onto a panel, or use a projector to project an image onto a canvas to trace or even print images on canvas with a printer. I only recently learned about this. The most I use as an external aid, is to create a 9 section grid on my photo and then loosely the same grid spacing on my panel, to help me accurately place the content of my reference. Before I create the grid on the photo, I often spend a substantial amount of time creating the actual reference I want to paint. I manipulate the photo substantially to alter or adjust the photo content as I want it to appear. I adjust the location of photo elements, the size, perspective, color. Ultimately my reference photo is not the photo I start with. It is very handy to determine these things before I begin painting rather than blundering along using the original unaltered photo trying to make changes to it “on the fly”.

Below, is the sketch painting phase of my first Gondola and driver with passengers. Hopefully the reason for this choice will become clear when complete.

There are many short cuts artist can use these days in the painting process which speed them alone to galleries or clients, but I tend to stick with the long and time consuming way of doing things. It’s just my way and sometimes it is tedious. I could even add more squares to my grid, to aid in capturing the proper placement of the reference image but I prefer the practice of increasing my ability of doing this from site. You’d be surprised how challenging it is. Some day, I may speed up my processes. Bye for now. Winifred

8 thoughts on “More from Venice Italy

  1. As a former oil painter .. I personally think enjoying the painting process and immersing yourself in it is just as important as the final finished product painting .. in fact .. it may be even more important to your mental health than the finished painting 🙂

    I love all of your paintings .. they have a lusciousness that pulls me into them and I can feel the siren song of your inspiration crooning in my ear while caressing my vision .. take your time and enjoy what you are doing .. it shows and it makes me enjoy your painting so much more than I can describe with words!!! THANK YOU!!!

  2. I had no idea how complicated and precise your painting process is, Winifred. Thank you for writing about and showing it. My appreciation continues to soar.

    • Thank you Brenda. It is in fact complex, but very enjoyable. Every artist works out their own system to suit their needs. Hope all goes well in Paris! So great you choose to take in so many art experiences.

  3. This is an exquisite painting that expertly plays on light and conjures up my memories of Venice… And as always your use of color is breathtaking.

    • Thank you Maria,
      I hope you enjoy the ones I post today as well. I always look for the opportunities to capture references which emphasize dramatic lighting – it speaks to me. When I see it, I can hear myself say “WOW” and click the shutter.

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