30 cm x 25 cm, Oil, Plein Air
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Thanks Aurelia - I actually have one of these cards but haven't been using it; will have to find it & do some block studies! Thomas, your science background must be helpful in understanding colour theory. And all the work you are doing is certainly paying off, as your use of colour is beautiful!
I have a credit card size grey (value 5) card with 3 holes in it. To see accurate colours, I peep through the hole. Then all the other colours are blocked out and you can clearly see only the one colour. You will be amazed what colours things actually are. I was painting with Barry once and he was painting a distant mountain in a violet/pink colour. I asked him how he saw that colour, because I squint very hard and still could not see that. He let me look through a similar card and there it was..... Violet/pink. I was stunned! Do that even when paint you block studies. You will see how much you will improve! Then I better start to practice what I preach!!
Love the beautiful colour in this Thomas. Interesting discussion. I also find myself wondering about colour - do we paint what we see or paint what we have learned about the effects of light? If we paint what we see, is it a matter of training our eye to "see" the colour more accurately (& mix it accurately after that)? Because when for example I was looking at the shadows on a white wall cast by a vividly coloured bougainvillea plant in very bright sunshine yesterday, I could not see anything besides a greyish shadow - I really could not see blues or violets or any cast light from the crimson flowers or bright green leaves. Is this because my eye is not trained enough to "see" it? Or do we paint according to a rule (e.g. sunlit objects have cool shadows) because this makes for a more dramatic & interesting painting (which it certainly does)?
Also notice the strong notan in his figure/portrait studies. His simplicity in his design work. That all makes a very strong painting in my opinion.
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