Beginning with an under-painting of orange, quinacridone gold and blue, I set about drawing image over image over image over image . . . .much like I had done in the previous two posts . . . . .on top of the painting of the abstract color arrangement. I chose to have the colors dominantly warm with cool accents.
Also, from each position of drawing the image, I changed the height of my point of view, from looking up at the still life set up, to looking straight at it, to looking down upon it. Then, just for giggles, I put a piece of reflective silver mylar partially under and behind the set up which added some repeated shapes in the form of wobbly reflections. Once the line drawing was finished, I left the still life model in another room where I could not see it. My interests were to create shapes by the interweaving and overlapping line drawings and to utilize the warm / cool underpainting as light variations in the painting. By randomly glazing over parts of the painting and implying light from the far left, I wanted to see what sort of design would emerge. Eventually, this design began to take on its own personality. The pitcher appeared in places and merged with the Madonna figure in others. The Madonna figure formed much of the repetition and rhythms in the piece.
I was very cautious (over three days) with this piece not to push the value contrasts too harshly. I believe the darkest dark is but a medium value. By keeping the values more closely aligned, without using white at all, the characteristic differences in the colors used became the prominent interest in the piece. That is, the colors shift from near perfet neutral to slightly increasing intensities, which gives some areas of the painting a feeling of luminosity. That luminous characteristic seems to add a spiritual mood to this painting along with some ambiguity and mystery.