Still, it was a tough go. So once they were finished and out of my studio, I decided a little diversion was in order and immediately set up two small still lifes.
For the first, Splendor in the Glass, I channeled one of my favorite artists, Henri Fantin Latour, and purposely painted the setup without a table front, softened the edges where the background meets the table (a Latour trademark) and did my take on his subdued backdrop. With a book of his work close to my easel, between breaks it lifted my spirits and inspired my effort Having started (but never finished) the second painting sometime ago, still on a high from painting Splendor in the Glass, I decided to give it another go.
Whenever you rework flowers, it's easy to lose that spontaneous freshness. In an attempt to avoid that, and since the drawing had good bones, I decided to use my previous effort as a base and approached Sweet Sunshine with an alla prima mindset, painting extempore on top of the original and working wet into wet toward the finish.