From the Artist:This painting is made up, there is no place that I know of that looks like this. It's intended to give you a feeling like standing under the shade of the trees looking out towards the landscape of plants. I abstracted it so it is not really realism.
I started out with burnt sienna and then laid down my lemon yellow mixing in some white. I then mixed in some lemon yellow in my other colors as I went around the canvas clockwise allowing the shapes to take place and the scenery to form. I mixed my colors in order that I started with yellow and ended with green. I mixed very little phtalo blue with the lemon yellow. The oil was thinned to an almost total transparency.
As we know it takes very little phtalo blue because it is so powerful, I loved the shades of green I got. I also mixed in more yellow with the green to get more shades of yellow-green.
From the Painting Guide: Very glorious greens indeed! Varying the proportions of lemon yellow to phthalo blue gives the lovely range of green you've got and makes for far more interesting painting than just one, out-of-the tube green. The range of browns and golds you've created with the lemon yellow and burnt sienna are gorgeous too.
Things to Consider When Looking at This Painting:
Composition: To my eye the part of the composition that works the best is the lower branch on the right-hand side where the green leaves stretch across the brown, with the branch dropping a bit and the melding into the area of brown leaves. There's a sense of movement, and a feeling of a story happening with the leaves and changing seasons.
I find that the circle of leaves (or rather two semi-circles) in the center of the composition distracting. It pulls my eye in sharply, to the detriment of the other elements in the painting. The strong horizontal line of green leaves behind this also divides the composition into a top and a bottom half. This could be counter-acted by the greenery on the sides extending across it.
I started out with burnt sienna and then laid down my lemon yellow mixing in some white. I then mixed in some lemon yellow in my other colors as I went around the canvas clockwise allowing the shapes to take place and the scenery to form. I mixed my colors in order that I started with yellow and ended with green. I mixed very little phtalo blue with the lemon yellow. The oil was thinned to an almost total transparency.
As we know it takes very little phtalo blue because it is so powerful, I loved the shades of green I got. I also mixed in more yellow with the green to get more shades of yellow-green.
From the Painting Guide: Very glorious greens indeed! Varying the proportions of lemon yellow to phthalo blue gives the lovely range of green you've got and makes for far more interesting painting than just one, out-of-the tube green. The range of browns and golds you've created with the lemon yellow and burnt sienna are gorgeous too.
Things to Consider When Looking at This Painting:
Composition: To my eye the part of the composition that works the best is the lower branch on the right-hand side where the green leaves stretch across the brown, with the branch dropping a bit and the melding into the area of brown leaves. There's a sense of movement, and a feeling of a story happening with the leaves and changing seasons.
I find that the circle of leaves (or rather two semi-circles) in the center of the composition distracting. It pulls my eye in sharply, to the detriment of the other elements in the painting. The strong horizontal line of green leaves behind this also divides the composition into a top and a bottom half. This could be counter-acted by the greenery on the sides extending across it.