The goal in these three paintings was to understand the relationship between the underpainting and the final highlight hits in creating the form, where to place vanishing edges, and what details to eliminate, what elements to include, to produce a stronger composition.
In the second painting, I took out the 'whites' partly to reduce the amount of colours included in the work, but also because I started thinking how odd it was to have tulips, asters, sunflowers, gerberas, lilies and orchids all at the same time when they don't bloom in the same seasons. I have wondered about this in other paintings as well, should one aim to have the elements of a painting be 'in season' with each other? Or is this just inevitable evidence pointing to a culture that supplies almost everything at anytime?
For this third painting, the canvas has been swung around to vertical and the still life has been cropped in closely to create a more stripped down composition. I do miss the wild patterning of the first painting even as I enjoy the quieter look of this arrangement. The darn tulips and the gerbera kept moving while I was painting even though I thought I was painting really quickly. Hazards of painting from set ups rather than photos I guess. At a workshop I attended this weekend the presenter, a landscape artist said, that it is a real problem when painting outdoors! I can imagine.