Urban Blues, 12 x 24 inches, oil on linen
The changes I made on this one are mostly about paint quality. Composition and color scheme is basically the same. The old version didn't have as much activity, especially in the foreground.
It had interesting juxtaposition of very thin calligraphic strokes and thicker opaque strokes, but I wanted a little more interaction between shapes and activity within shapes. As I started laying on more paint in one area, it needed to be seamlessly integrated to shapes around it. So I would paint the adjacent area as well. I ended up repainting 85% of the surface.
I also expanded the range of hues just a little bit. But not enough to break apart the strong blue-violet theme. I rather like the tonal look of single-color structures, and this painting had that working already so I didn't want to mess with it.
With a tonal structure like this, you can get away with really dark shadows. If I had a more naturalistic color structure, you couldn't do that. Essentially I'm sacrificing color(fulness) for value impact.
The roofs of the cars to the left are darkened so that visually, the cars connect with the dark tree mass behind them, making for a more cohesive unit in that area. I think that was a good move.
I've also been doing a lot of non-descriptive mark making in the large passive areas. The foreground, in this case has a lot of vertical notes that really doesn't contribute to showing perspective. The lines on the road and how the cars line up does enough to show perspective, so I felt pretty free to just treat the area as a two dimensional shape. I did the same with the painting in the last post, too.
Perspective often gets in the way of abstraction, because it's one of the foundations of representational picture making. I mean how does one follow the rules and break them at the same time? It ain't easy for a guy like me, who has two left brains.
Anyway, I'm making progress, and that's the important thing.