The Blue Vase - Continuing Still Life Exploration

 Still Life painting continues to intrigue me.  I've mentioned before that I enjoy painting still life subjects in the studio as a kind of therapy.  There's something very healing about the process.  One is painting from life, but without the pressures of working from a model or the challenges (should I say aggravations?) of plein air painting. With internet radio in the background and Dixie asleep on her pillow by the transparent plastic doggie door (so she can keep one eye out for squirrels who may have the audacity to venture into HER backyard), the studio is a wonderfully peaceful place. 

But more and more I appreciate still life painting as a chance to explore painting techniques and to simply practice what I learn in workshops and other studies.  Sometimes, I learn what NOT to do, which, if it is absorbed and remembered, is every bit as valuable as learning what to TO do.  As an example of this last point, I just completed a workshop conducted by a very accomplished painter who teaches and practices a 'classical' approach using old master techniques, colors, mediums and etc. (More on the workshop in another post.) Using what I had learned, I attempted to complete this still life and in particular the vase.  It was a disaster to such an extent that yesterday I spent about two hours completely over-painting and then re-painting the entire vase.  I did one other thing, I scraped burnt umber and raw umber from my palette forever.  I know that they are essential colors of the old masters, but apparently they knew how to use them and I don't.  And simply put, they are incredibly UGLY!   (And according to some experts found on the internet, one or both have some bad chemical properties from an archival point of view.  You can google it.)

In this painting I wanted a contrast of textures.  Against the smooth and reflective surface of the blue vase and the red apple, I tried very hard to create texture in the oranges and the table top by putting the paint down heavily and leaving it.  I think it was successful.

The Blue Vase    12" x 12" Oil on linen panel

My Art Site: Bruce Hancock Fine Art

Wine Bottle with Pears - Still Life Oil

Still life painting still intrigues me.  I'm finding that the more I paint from "life", the more the prospect of painting from photographs seems to be lacking.  The reality is, of course, that for practical reasons, painting from photos is almost unavoidable for most of us. Access to models whenever we want to paint a portrait or a figure just isn't possible and plein air painting opportunities are not as frequent as we might like.  Still life painting represents "instant" opportunities for painting from life almost anytime the urge strikes. And the added benefit is that I get to create the composition before I set a brush to canvas - and that's  a lesson in itself.

I completed this still life about two weeks ago, but I've been undecided about it.  After looking at it for some time, I lightened the table top a little and called it done. 

Wine Bottle with Pears and Grapes   Oil on stretched canvas  12 x 16

To Purchase this painting, click HERE

My Art Site: Bruce Hancock Fine Art