From the Artist: For this painting I decided to use only three colors -- white, burnt sienna and lemon yellow. The subject is probably not immediately recognizable or fundamental, as I like the fact that it could be seen differently by different people. Anyway, the inspiration came from a very nice white rose.
I painted as I saw it, but it is natural for me to play with dimensions, viewpoints, and standard of perceptions. If a white rose generally recalls images of coolness, detachment, and purity, mine came out quite warm and sensual, very physical, exploding from its support.
Although the subject could be superficially seen as monochrome (it is not, as white is the sum of all colors) I did not want a grisaille effect. Hence I used also the yellow and carefully prepared my board in a way that allows the light to reflect, giving the impression the colors changing according to the light. The painting itself is in oils, but it has to be defined a mixed technique in view of the different materials used for the priming of the board.
From the Painting Guide: As long-time readers will know, I'm very partial to abstractions from nature, so it'll come as no surprise that this painting appeals to me very strongly. It's the organic shapes which grab my imagination, the subtle changes in color (view the full-size image to see these better). Though I admit I'm not a fan of texture that doesn't relate to the subject of the painting, that does its own thing underneath the color, I like it to enhance and work with the subject.
Things to Consider When Looking at This Painting:
Painting Titles: Putting the word "rose" in the title of the painting ensures that a viewer will interpret it in a particular way. Without it, the painting is an undulating abstract. Sure, not every viewer reads a painting's title before looking at it (and sometimes not even after), but it's important to decide when giving a painting a title whether you do want to lead someone's interpretation in this way, or not.
I painted as I saw it, but it is natural for me to play with dimensions, viewpoints, and standard of perceptions. If a white rose generally recalls images of coolness, detachment, and purity, mine came out quite warm and sensual, very physical, exploding from its support.
Although the subject could be superficially seen as monochrome (it is not, as white is the sum of all colors) I did not want a grisaille effect. Hence I used also the yellow and carefully prepared my board in a way that allows the light to reflect, giving the impression the colors changing according to the light. The painting itself is in oils, but it has to be defined a mixed technique in view of the different materials used for the priming of the board.
From the Painting Guide: As long-time readers will know, I'm very partial to abstractions from nature, so it'll come as no surprise that this painting appeals to me very strongly. It's the organic shapes which grab my imagination, the subtle changes in color (view the full-size image to see these better). Though I admit I'm not a fan of texture that doesn't relate to the subject of the painting, that does its own thing underneath the color, I like it to enhance and work with the subject.
Things to Consider When Looking at This Painting:
Painting Titles: Putting the word "rose" in the title of the painting ensures that a viewer will interpret it in a particular way. Without it, the painting is an undulating abstract. Sure, not every viewer reads a painting's title before looking at it (and sometimes not even after), but it's important to decide when giving a painting a title whether you do want to lead someone's interpretation in this way, or not.