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Three still life oil paintings.

Winter is approaching and time will be spent more in the indoor studio than outdoors. It is the perfect time to do still life and interior sketches-and paintings. Neither still life nor interior painting is my strong suit, so my project and goal for this coming winter is including these genres in my everyday painting.

The first little still life I did, wasn’t too bad, even though my strokes were all over the place. But from there on it was downhill all the way, until just suddenly things changed for the better. I started having so muchfun, that I can’t understand why I haven’t done it sooner.

Bowl and eggs.

oil on board, 20×20 cm

bowl with eggs

Bowl and two pears

oil on board, 20×20 cm

bowl with 2 pears

Bowl and black grapes

oil on board, 20×20 cm

bowl with black grapes

à bientôt

Ronell

 

 

 

 

Two chickens and a dog in oil.

We have had rainy weather lately, not to mentions storms causing trees to fall and roofs to fly.I am eager to get outdoors to paint plein air, bu in the meantime I honed my skills a bit with animal painting. My chickens, Omelette and Rembrandt and our German shepherd Lindiwe.

Omelette

oil on board, 30x40cm

Omelette in oil

Blocking in shapes for Rembrandt

Rembrandt inoi

Rembrandt

oil on board, 30x40cm

Rembrandt in oil, 40x30cm

Lindiwe

oil on board, 30x40cm

Lindiwe in oil, 30x40cm

blocking in shapes for Lindiwe in oil

Lindiwe in oil, 30x40cm-001

on the easel

Lindiwe in oil, 30x40cm-002

Hyacinths in oil.

I don’t have hyacinths in the garden, but I bought some forced bulbs and they ere just beautiful at their peak.I sketched them in watercolor, but struggled. So I left it for a while. Slowly but surely the blooms began to topple over, like hyacinths do and they started turning brownish in their color. no waiting anymore, I had to paint or lose them.

hyacinths-2017-001

White hyacinth in watercolor

hyacinths-2017

white hyacitnths

oil on board, 33X40 cm

white-hyacinths-in-oil

Roses in the garden.

Painting flowers doesn’t come natural to me. But I never realized how much I will enjoy it. Especially when I can do it outside. Painting outside just has some magic to it, which only a plein air artist will understand. My plein air work is always much better than my atelier work, more intuitive, more spontaneous. My biggest problem is leaving the painting as it is AFTER I have returned to the atelier. I forget that I am an artist and I turn into a plastic surgeon. I see a little something that needs “lifting” and so I begin to I nip and tuck this beautiful plein air work up to a point here it becomes totally unrecognizable. I lose that fresh plein air touch and I end up with tired and overbotoxed painting. Sigh…

Generosa carmeline

oil on linen, 33x47cm

This is the completed painting I carried from the garden to the atelier. I was happy.

rose-generosa-carmeline-004

Roses 1: The first steps – getting in the shapes and the darks for shadows. A white canvas always threatens me, paralyzes me. This is a perfect way for me to lose that fear of the white surface I have to fill.

rose-generosa-carmeline-001

Roses 2: Almost done

rose-generosa-carmeline-002

Roses 3: Painting completed.

rose-generosa-carmeline-003

Roses 4: Back in the studio, the artist got kidnapped by the plastic surgeon and the painting transformed completely. All my hard work in the garden, my lovely strokes, the depth in my blooms…all gone.

rose-generosa-carmeline

And so another painting had been a lesson learnt the hard way.  Studio painting is studio painting and plein air painting is plein air painting, basta.

à bientôt.

Ronell