At last, here's a small study of some rose heads (one of my first) that's almost completed - it'd been sitting around for a little while while I've been trying to really see what it's about. For a recent flower commission, I'd been studying the work of John William Waterhouse, Seaton, Fantin-Latour, Klein and Handerson Thayer to try and get to grips with chroma and handling. I've found that actually redrawing the subject during the painting process wonderfully helpful. It helps anchor the shapes that could normally slip whilst I'm building up form. I loved constructing and then reconstructing the petals and leaves.
In speaking yesterday, to Charles Weed about the subject of convincingness of a painting we veered a little closer to defining my goals by discussing ideas of idealisation and painting to one's own temperament. As an example, Klimt did this after producing such (in my opinion) amazingly (aristically) accurate and beautiful works alongside his brother and their company of artists. He went on to clearly identify his capacities and inclinations. I feel that that is what made his paintings stand, that's what I'm after. The groove.
To avoid risking rambling on, I'll stop now.
Merry Christmas, one and all,
180mm x 220mm
Oil on linen on panel