In Progress: untitled still life
Oil on panel
8 x 8 inches (20 x 20 cm)
As I mentioned a few days ago, I've been painting some slightly larger pieces, so I thought I'd give a glimpse of what's in the works.
This is actually a piece that I very nearly threw out. I started it about 6 months ago, completed the underpainting, and then decided I didn't like it. It's rare for me to not finish paintings, but this one wound up on the shelf, and after a while I almost put it in the trash. I looked at it with fresh eyes this week, decided it had potential, and continued with it. Now that I'm into it, I think this could turn out to be a painting I'm quite proud of.
Although it looks like it's just begun, in reality much of the heavy lifting has already been finished. Obviously there was a lot of intricacy in the knife, but the real challenge has been the cloth backdrop. Accurately capturing both the floral design and in particular the downward flow of the light took a lot of concentration, and in fact some repainting. This was definitely a case where the background was as important as foreground.
The word background itself is problematic. It can easily lead to an attitude that it represents a less-important part of the painting: "Oh that's just background, I don't have to be as careful here as with the foreground". I have been guilty of this many times. However, the more I grow as a painter, the more I realize what an incorrect viewpoint that is, at least for me.
In fact, I've even tried to stop thinking of it as background, and instead try to think of it as context. Inasmuch as the labels we put on things matter, that at least gives it a more dignified standing than "merely the backdrop". As with anything, the context has to be right, or the objects within it will be misunderstood.
The reality is, in order to paint well, I have to challenge myself to be meticulous with everything.
7 comments:
I can't believe it's not finished yet, I mean, it looks great even at this point, with no color in some parts, but, as the values are there, it looks as if it was finished like this on purpose.
Congratulations on your blogging anniversary, and thanks for sharing all your thoughts and personal 'cycles' involved in blogging, that's inspirational and educational too :)
Best regards,
Carolina
Years ago I came to the conclusion that Jeff has done in regards to there being a fore and 'back' ground - that there is none and that it is all relative. The job of a realist painter is to translate as accurately as possible a particular passage which is made up out of foreground or background elements. I often find the things that make up the negative shapes to be the hardest to do. I have just completed two large paintings - one took just under 600 hours and the other at 500. They were at the hardest when painting the background. In one the negative shapes were all white and the positive were all black. In this it was extraordinarily difficult but as Jeff knows - quality is paramount.http://photorealistpainting.com/wpblog/2009/09/30/my-work/deckel-maho-gildemeister/
Hi Jeffery I am new to your site but love your work. i think this painting is very interesting just the way it is. I am not sure what the item is balancing on the vase but if it were a paint brush it would appear very Surreal to me. Almost like the brush is doing the painting but has taken a break. The work made me look twice and has a very interesting mystique about it. It also appears to be telling a story from another dimension.
Ellen Sinclair
I love the concept of thinking of it as "context" and not just "background." What a great pearl of wisdom; thanks! I can't wait to see the finished piece.
thank you all!
that sure look like a nice place to live at. I reely like it!
Regard
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