Fountain of Love: the finished painting

The Fountain of Love 

Well, this painting is finally finished. Towards the end, although commissioned, it was starting to become a labour of love, no pun intended.

I found myself wondering whether I would finish or fall at the last hurdle. I feel pleased with it, which is dangerous to say, as the image for approval has only just gone to the client, and if it doesn’t match what he had in mind, then I shall be in difficulties. Worst case scenario, it will be rejected, but even then I would find this one useful for the web-site

In terms of technique, there isn’t much to add to the last post. The jets of water were achieved by flicking white gouache onto a blanked off section of the painting. Always a bit hit and miss, but mostly they have worked, and in some cases provided a realistic white mist

Unless I have to make any last-minute adjustments, I should be free to think of something else, for which I have built up a long list. I am at least at the end of my commissioned work ( for which I am truly grateful), and can now think of my next exhibition which is March/ April as I remember. I have paintings ready but will need more, and so we go on.

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Fountain of Love about halfway

The Story so far

Not a very good photograph of where I am at the moment. The camera as usual has diluted the colours. I think next time I will use the camera on my phone, which I have found reproduces colour much more faithfully

However for now we have a record. The mask has been removed from the trees and from the figures. I have started to work some dark colour around the sharp edges of the statuary, in order to give them some definition.  Details are tricky with a brush on this size of picture. I bought recently a fine detail brush which I can thoroughly recommend. It is one of a range designed by Matthew Palmer and available from SAA. It comes to a fine point, as fine as a pen nib, but is backed by a large bole, which holds a quantity of water. Unlike other fine detail brushes which run out of water, this one will run on and on, giving very fine detail lines so ideal for painting statues. 

Nevertheless fingers, nipples and feathers are still difficult and need care.

The pinky orange colour of the marble shell made me think, and in the end, I have gone for very dilute Burnt Sienna, and have just trialed this around the top of the large shell, picking out the smaller shell and what looks like two large flowers

Over the years it looks like some sort of mineral, possibly iron, has been deposited by the water onto the flutes of the shell, as it runs down and off into the water. It looks unsightly but what to do. I can’t leave it out but at the same time it does look ugly. I suppose some sort of compromise and reduce the amount and depth of this almost black residue would be the only solution.

Something to think about between now and next time

Out of the blue, a sale from my Artfinder site. That makes two this year. Things are looking up