There are so many ways to paint hydrangeas and hydrangea still lifes. I’ve tried quite a few. They are challenging with all the little cluster petals. There are those who paint the little 4 petal clusters all over. That’s more detail than actually interest me. If anything I want to become more more loose – more abstract. I’m going to work on that. But for now, here are a few examples of work I’ve done recently and one hydrangea painting from a year ago. One painting I created and then scraped all the flower heads back to repaint. I thought I’d put them all together.
I like both of my painting above but find them a bit too “sweet” and whimsical for my preference. I have always been able. to paint in several “voices” – even when I was a digital painter.
Ultimately, I decided the flower heads above had too much texture, saturation and contrast. Better to scrape off the heads and redo them. (not shown) I did that but still wasn’t happy and redid them again. – see final below – or is it!! I’b always good for a redo, if over time, I. am not happy and there remains some significant portion of the painting I like.
Well, to me this painting has now largely lost the look of hydrangeas – though the hydrangeas I referenced had deep red fall coloring. I’m ok with them being “flowers – of some kind” besides, now there is foliage. My other option, is to have this painting panel cut horizontally to make a 12×16 panel from the bottom portion of the painting – all of which I like. Can you imagine?
I painted the above painting more than a year and a half ago when I was just getting started and trying to work out what a hydrangea looked like – how to paint all of those little petals but NOT!
I thought you might enjoy seeing the progression of these paintings – the struggle! Hope you’re enjoying your summer. Winifred
I wanted you to see I can paint other than sunflowers. I picked these flowers from my garden. The rose is a carpet rose, in case you know them. They’re not fussy! They will grow in almost any soil and with minimum care. They only want sun. Given that, they flourish. There are several hundred blooms during late June and July and a new flourish of these flowers in late August and September. Combining a few stems of the roses with fresh daisies made a lovely casual bouquet. I very often paint from photographs. This time I had both the fresh bouquet and a photograph to draw upon.
It’s been an enjoyable couple of weeks painting roses, which started with this one. The texture of the linen and the impressionist brushstrokes combine beautifully, I think, with the smoother impasto of the single red rose. I will switch to pink roses next time. The new painting has been designed – and awaits my attention. It will be a larger painting – probably 16×20. Today, I cleaned and reorganized my studio and I’m ready to go. I hope you enjoy the roses. Winifred
In my last post I shared the initial paint sketch, for the above painting I had in mind. It was part of a process which really makes a positive difference, though I rarely follow it. A large sketch – about 11×14 was created, followed by the small painting to test color and design (see previous post). The test painting was a long and skinny. I then did a vine charcoal sketch on my 20x 30 inch panel. This required altering the aspect ratio from the small test painting, but knew I could manage this. The idea was not to make the final painting identical to the small painting. I painted the full 20 x 30 painting, which I like, but have decided to crop it to 20×24. Both versions work but the cropped is just a little more impactful. This is my largest painting to date. I will be creating more. Hope you enjoy. Thank you, Winifred
My Venice paintings were rather complex – not to say, sunflowers are not challenging, but painting them brings a smile. The above oil painting was particularly enjoyable and was created from imagination. I created quite a lot of paintings from imagination when I painted digitally. I felt I had less to risk if I screwed up. I could throw away a layer – only part of the image, and make corrections. I feel great joy when I look at the above painting, which hopefully means I’ll create more.
It was two years ago when I visited Venice with a friend from New York. I have now completed a 6 painting series of “Venice at Night”, primarily in the rain. I most enjoy creating figurative paintings which you can feel and which tell stories. I think I have a few such paintings here. During the process, I got to experience the magic of Venice again.
To complete the series, I include below the first painting I started with – previously posted. The location is Murano, Italy and during the day.
I hope you enjoy these images. Soon I will commence images of the canals and Gondolas.
HAPPY NEW YEAR!! I’ll make new strides in 2019. No playing it safe – such as with my tomatoes. Painting this was not easy for sure. Each color and tonal variation had to be mixed separately. Oil paints don’t easily blend together and you can see the color variations are many. However, though tedious, I purchased 3 tomatoes and had them to look at. Basically, I painted what I saw – realism.
Just imagine, however, you set up a still life, below, but you chose to completely alter the color, textures and even some content – more abstract, more impressionistic. This makes the painting even more complex though giving one the opportunity to stretch the imagination, completely personalizing the style mood, color texture all. I’m will do more if this, attempt to stretch my capability with each and every painting. I hope you will enjoy.
There will be times when I work very seriously, but I also believe in play. Below, you can see play!! Grapes, pear and a shadow. This was fun. Thank you for sharing my painting journey and hope you will continue into the future. Wishing you and your family the best in 2019. Winifred
The common denominator in my paintings this week is primarily foliage. For sure it is not painting style!! That’s fun for me, painting one way and then another as well as experimenting. I will feature 4 paintings in this post – though I may delete one or more as time goes on.
Ever since I can remember this clock has been in my Godmother’s home. Finally she gave it to me. I consider it a treasure. It doesn’t work. There is no glass front and the numbers are worn off. It does have hands. I decided to paint it. I put it off for a long time because of the ornamentation but alas, it was “time”. I wanted to increase it’s creativity and the very moment I had that thought – limes and ivy popped into mind – so here it is!
The Geranium: This summer I purchased a 4 inch deep purple and fuchsia Geranium, which I really enjoyed. I wanted to have it again next year and looked up how I might over winter it. It’s easy – just bring in inside, cut it back a bit and place it in a sunny window. It’s thriving. It has no flowers at this time but it’s very green and happy. I brought it into my studio and along with a few other items, this is the resulting painting. It wasn’t important to me for it to become identifiable as a Geranium – only foliage and color.
The painting above is an experiment. It’s important for me to not be “safe” in painting all the time. So the bazaar and even the failures come with the process. Sometimes I view them as interesting – other times – just plain weird!!
Tiny White Flowers: I really don’t cherish looking at one of my paintings and thinking of it as “sweet” or “cute” and that’s what we have here. I’m not sure how that happened. I didn’t think of it as such before I added the white flowers but it needed something. I enjoyed the Van Gogh like brush strokes throughout as well as the color and impasto effect and design. There is nothing wrong with it technically, in fact there’s a lot great about it. I’m the only real problem and I am sure there is someone for whom this painting will be just right. ENJOY YOUR HOLIDAYS! I will have much more to show you in the NEW YEAR!!!
The first paintings and the one below represent a very recent new technique I am trying. I spread onto my panel a relatively thick layer of material to serve as an underpainting and then carved my image into it with the and of a brush or palette knife. At that point you can create additionally as much or as little texture through out. I allowed it to dry for 2 months. I then painted in the dark outline surrounding each element before beginning to paint with loose imprecise brush strokes and palette knife.
I have created paintings ranging from those as precise as photographs to loose bold painting strokes and texture like these. This is one of my favorite styles. I am very excited about this process and I love the results. One of the wonderful things about oil painting is that you can never say you are done with learning and experimenting. It’s endless, if you’re a curious person who loves to try new things and I am one of those people.