oil on linen on panel, 6" x 8"
You have to eat one of these for lunch . . .before they go bad, I heard her say. But I was lost instaring at the subtle shifts of light and color temperature on this pair of pears. I thought to myself, "Not before I paint em!" I was already visualizing a set up and how I was going to show off those subtle shifts of color.
You might note this is another departure for me. High key (all lighter values) and no dark darks. I have resumed thinner painting, but with more penache at the end of the hairy stick I hold in my hand. Bigger gobs of paint . . . flat brush . . . .and again paying close attention to the strokes. No more random action. After all, every plane shift calls for a different direction of a stroke. They may not be as evident here, because I also worked on more subtle shifts from one plane of light to another. Edges, in other words. Sable brushes help that aspect of the work when working with lighter paint applications. They are not the final answer, to edges if working thicker, though.
I caught myself hollering and jumping up and down (by myself!) as I painted this. I had fun with this one!
Now . . . . where did she put that Camembert fromage?