Skip to main content

Interior Light, after Henri le Sidaner palette knife painting - day 16 of the 30 day challenge

Interior Light, after Henri le Sidaner
Pallete knife painting
Oil on archival canvas panel
18x24cm (approx 7x10")
Day 16 of the monthly challenge

Available for auction on Daily Paintworks

I combined two challenges with this painting. The 30 day challenge and this weeks 'Interiors' challenge on Daily Paintworks. I searched the internet for suitable ideas and came across Henri le Sidaner, a French impressionist I had not heard of before. His sense of light is wonderful and he paints many interior scene. This painting is based on  "Intérieur, Lumière de la Fenêtre," (interior, light from the window) a painting that was 'lost' and then found again in 2013, see here

This painting was more difficult to paint than I thought it would be and it took a long time. I learned a lot about trying to get the light and shade just right, although I think I could still have lightened the lights and half shadows some more. I also found I was fiddling too much for the size of the painting - trying to put in too much detail - after all my painting was an 'impression of the impressionist' style.
I have another one of his paintings lined up to copy. I shall see if I can control my tones more in the next one.

I'd appreciate any comments and observations you have about this one.

Some close-ups

Popular posts from this blog

Value in Painting - Black and White Boards

"The most important aspects of a painting is VALUE  and DESIGN. These two trump colour, texture etc." Nicholas Wilton

Value is essentially the lightness and darkness of a colour. The correct use of value gives a painting (both abstract and representational) depth.

I must admit, because I use a lot of colour, the values can sometimes go awry and I have to always be very conscious of that. So getting more of a grip on this, is my goal for this aspect of the course.

The second assignment of the Art2Life course, was to create two boards using only black and white. I based one on one of my failed paintings to see where I could make improvements and the other was purely abstract.

This one still exists as shown, I have yet to put colour on it
The first one, received some limited palette colour:
I have not taken this one forward and I shall have to find it again in my pile of unfinished boards. I can see it is too busy (so obvious now) and it needs to be unified.

Play Boards and loosening up.

The first assignments on the course were to creat an inspiration board and a desire board.

It will be no surprise that my inspiration board included the landscape of Provence, trees, flowers, spring and wildlife. These are well represented in my current art.

My desires - well this was harder. What was it I really wanted - make better art obviously but on top of that I want a larger studio, I want to feel confident enough to enter shows including juried shows, loosen up on my landscapes but without loosing the feel of them. The idea behind this is that if we don't say these things they will never happen, but somehow saying them makes them more likely to happen.

Our first painting assignments was to create two boards (12x12inch) by just putting paint down and not overthinking everything or even thinking about it. We were to call them play boards. In effect this is a loosening up exercise and fun to do. I often overthink my paintings before I start, and changing those ideas as the p…

Adding Texture to Acrylics Part 1

My visitors have all gone home and I am enjoy the peace and quiet lost in painting again.

As usual, I am working on several paintings at once but they all look a little flat so I am injecting some texture into them.

The best way to do this is at the beginning of a painting is using gesso or modeling paste. You can also use these on an in-progress painting but, as they are opaque, you will lose any colour already down.

One method I enjoy using, because it brings up a lot of unexpected surprise, is laying down two, three or even four layers of acrylics on top of one another and then scraping through the acrylic.

Use thick paint for the best results and wait for the paint to touch dry before adding another layer. I like to wait until the top layer is just touch dry before dragging the scaper through the paint. The effects are different according to how dry the paint is. Practice this to see the different effects. The wet paint also lifts off some of the dried paint underneath, giving in…