Cake! Rainbow cake. 6 of 6 series. 6 x 6 inches, oil on canvas

Cake! Chocolate Mint, 5 of 6 series, 6 x 6 inches, oil on canvas

Rasberry Cake, 6x6, 4 of 6 series, oil on canvas

Cake! Fruit tart, 3 of 6 series, 6x6 inches, oil on canvas

Cake! Chocolate Raspberry Mousse cake. Series 2 of 6

Cake! Chocolate Raspberry Mousse cake oil painting. Series 2 of 6, 6x6 oil on deep canvas. Yum!

Cake! Chocolate Raspberry Mousse cake. Series 2 of 6

Dark chocolate, raspberry swirl. I thin there is nothing else to say.

Cake! Mango Chocolate

Mango Chocolate Mousse cake oil painting, 6 x6 oil on deep canvas, 1 of 6 series 

Cake! Mango Chocolate Mousse Cake. 1 of 6 series
I am lucky enough to live close to a bakery that specializes in European style cake with a tropical twist.
This a mango chocolate mousse.

Floridian shell memories

Floridian shell memories, 16 x 12 inches, oil on canvas

 

 

I found an old Florida postcard with a faded and stained background.

I thought of the tourists coming here and leaving with a little bit of Florida in their suitcase.

On a technical note, the whole background of the painting is very heavily glazed with colors that reminded me of shimmering water.

Midnight orchids, 9 x 7, oil on canvas panel
 

The blue rose

The blue rose, 4 x 4, oil on canvas panel.

Passion fruit still life 16” x12” oil on canvas

The passion fruit in a red bowl (the long wait).  

Two years in the ground and all of a sudden you have a vine covering the phone polls and wires with colorful flowers turning into beautiful globes of greens, yellows and purples.

Yes, you have to wait for this perfectly gorgeous purple color to fade and have it shrivel up! When the passionfruit is ready it is super good but you have to wait.

This is painting about how to wait patiently for the fruit to age and long after the pears and the grapes were gone, the passion fruit rewards with its delicious treat.



copy of William Bouguereau painting

copies of William Bouguereau

Intro.
notes on copies of William Bouguereau, my version at least, my steps:

 

1.     Started with following colors: titanium white, ivory black, raw umber, venetian red, Terra Rosa and Terra Verde. Need to add: viridian, yellow ochre and transparent gold ochre

 

2.     The canvas was primed twice, sanded and stained with what I deemed to be a middle color, a grayish green.

copy of William Bouguereau painting



3.     Surprises:

 

a. The grayish green primer proved to be a saver with so many hues to hit, against it, tints of Terra Rosa seemed to glow.

 

b.The red turban, I was sure to get the red cadmium out but again this time pure Terra Rosa,  balanced beautifully with the rest, without a need to bring in the cadmium.

 

c.There are no hard lines anywhere in the painting, including eyes, which leads me to believe he used a larger brush to whisk in the needed colors.

 

d. Strict avoidance of pure white, not even on the eyeballs, the colors palette was so earthy and low chroma, that white was just too much.

 

e. No grays. When a gray is placed on a green background it looks purple, wrong shade for olive skin. The brilliance of skin is through usage of Terra Rosa and yellow ochre with white of course.

 

f. Venetian red turned out to be too purple, needed to add yellow ochre and after glazes of viridian and transparent golden oxide. Venetian red is also a very vivid, high tining color in this palette.

 

g. Terra Rosa, seemingly the same as venetian red, completely different handling and like mentioned above against a cool green gray it glows like skin.

 

h. treatment of hair, the softness of handling the around face hair, especially on the girl, very shadowy and wispy, again a big brush