Mainly Foliage

Foliage and Vines Oil Painting on 9×12 Panel – by Winifred

It’s been nearly 2 years since I created both the paintings I’m sharing today. I found this painting a bit odd and it probably is, hence I hesitated to share it. But for me it has stood the test of time and I have no desire to toss it and I toss paintings pretty easily if I cannot enjoy them. In the above painting, I enjoyed the process of creating the vine foliage form, dimension, texture, color and movement. I find it interesting to view. Still, It’s a bit unusual but I think it has merit. Below, I primarily painted foliage again:

Foliage in Brass Oil Painting on 9×12 Panel – by Winifred

For some reason I think I wrongly consider foliage insufficient as painting content – though in fact there are many other elements included in this still life. It’s just the mind attempting to undermine my efforts, as it does sometimes, but I held onto this painting because in fact, I know better.

I’ve been working on a new painting from a Venice reference. It’s 16×20 which takes more effort to paint and to resolve it’s issues. Perhaps I can share it next week. Please stay safe as we navigate through this Coronavirus event.

The Sleeping Cat

The Sleeping Cat 12×16 Oil Painting on Textured Panel by Winifred

The painting was completely from imagination – except for the cat! I couldn’t sufficiently visualize cat anatomy in the curled sleeping position. I found a photo and loosely sketched it’s form and then painted it. The flowers didn’t start out as tulips. My sketch had bulbous shapes at the end of a stem. That would have been fine also, but I began to see tulips, so tulips they became. 

This still life painting was as much fun to paint as it appears. I made a sketch from imagination and then painted it. My surface is a very textured panel I created, then painted with a thin rich yellow underpainting.   I mixed my other paint colors with a medium I made to thicken and strengthen the paint layer I would apply. This product would also isolate the paint layers to keep addition paint application from readily mixing thereby keeping the paint colors very rich.  I could brush various colors over the  underpainting  and the new paint would attach only to the peaks of the panel texture – depending on brush pressure.  

Another thing different about this painting is the brushes I used to create addition texture variability. Notice the kitty and the fringed rug the kitty is lying on.  Normal brushes don’t easily make marks like those. I took otherwise perfectly good bristle brushes and cut/chopped the bristles to create irregular configurations.  This made a big difference in brush marks throughout.  I have created a whole set of these strange brushes in varying sizes and shapes.
I don’t normally spend so much time talking about my paintings on my blog but I’ve done so because I find this to be such a fun joyful painting with a different kind of look. Hope you enjoy!