The finished article

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Hang on Studio Wall
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I made a hash of posting this on the Gallery because I couldn't see that my photograph was out of focus, and I've put it there twice and really don't want to presume on the space again, but on the other hand I would like you to see how it ended up. I was conscious of two things: one that I'd used too much un-mixed white, in order to gain impact; it might have been better to have modified it with a pale yellow, or pink; and that there was a bit of a confusion in the mid-foreground. The first problem was resolved (I hope) with glazes; because I'd used a mix of stand oil and thinners as my medium, the paint dried quickly enough to permit them. The second puzzled me for a while - until I realized that a spot of dark in the right place would tie things together - and so it proved. I've managed to photograph the painting at an angle, so there's a bit showing in bottom right corner that shouldn't be, but this is what I was after, and it looks as near to the experience I had on that day as I think I'm likely to get. http://www.isleofwightlandscapes.net http://www.wightpaint.blogspot.co.uk
I think you´re right. The dark patch now guides you into the painting.
Superb work Robert. Hope your landlady is OK/
A very nicely crafted painting Robert. For me if it lacks anything it is a 'narrative'. Two well-known visual narratives used by Constable are the cart in 'The Hay Wain'. There is another example in a Constable painting showing a farm boy lying prostrate on the bank of a pool. He is taking a drink. In your painting possibilities are a fox or rabbit emerging from the foreground grasses - I first thought of a badgers head but they only come out at night. Another idea is a bird of prey perched in the foreground somewhere. If you don't sketch our native wildlife from photographs you may prefer to devise a human narrative. I've taken up a lot of space - it's a better comment than just "That's great Robert!"