This one is called “The study”.
The wifey thought this painting was a bit creepy… I don’t think I agree, although I have an idea why she would think that. As you can see, I kept the colors mostly on the warm side. I was actually thinking beforehand that if I use many cool colors here, the picture could turn gloomy or “creepy’.”The only cool colors are on the figure itself, everything around him is a mix of yellow ochre, burnt sienna, burnt umber, cad yellow, cad red and one of Daniel Smith’s flagship colors, quinacridone rose. A bit like the overly popular Alizarin crimson, but better!
This is a two wash painting, believe it or not. That basically means your first wash has to have some “oomph” to it. Stay too weak and you’ll never get any strength in a piece like this. Limiting yourself to just a few washes has the added benefit of never losing the luminosity of the white paper underneath, something that happens easily when the glazes add up.
Interiors and night scenes both require a fair bit of pigment, water and confidence. It is almost “alla prima’ painting. You have to work boldly and take big risks. Not for the faint hearted, since it could easily turn into one for the garbage can…
I tried to keep it mysterious, not many shapes are “spelled out”. The eye of the viewer is in demand! I was hoping that even the figure would be sort of no descript, sexless, but there’s something guy-like about him. He could be on the phone, or just thinking about how his life is going lately.
Notice that all the lines go to him, the shadow behind, even the piano sort of points into his directions. The intention is to make the viewers eyes rest on him. The lit up paintings above him are pretty well worked out and I am afraid I may have overdone it? I hope not, because the real focal point is, of course, the person in the armchair even though he is barely there. Also, the lightest light behind the figure is the white of the paper. Thanks for looking!