24 x 12
In this painting I kept the shadows to warm, thin scumbles and really laid it on thick in the lights.
Like cake frosting, oil paint can be trowelled on in luscious layers, and it seems a shame when a painting doesn't show some of that natural, sculptural quality.
You can see that the fabric weave on this piece is very visible. I'm experimenting with a coarse linen that's meant for large-scale work. It's thick and heavy, and I like the way it resists buckling during stretching, but I bought it for its obvious texture, figuring it would push me to a more varied surface treatment. In some places the weave is very visible, in some it's completely obscured, and in others it's somewhat visible. On a smooth linen, I can get those paint consistencies as well, but this linen emphasizes them in a way that I like... this week. Next week, who knows what I'll be looking for in a surface? Ultra-smooth wooden panels, no doubt.