I’ve expanded the range of green leaves across to both sides of the canvas, and I’m surprised to find myself really enjoying the play of the green against the dark background, because I have used green so seldom in the past. I’m thoroughly enjoying this period of foliage painting that I’ve entered. I’ll darken the leaves I’ve added on the right, behind Amelia, than add a layer of branches that are coming towards us over the top of the first layer, creating a convincing layering of foliage.
Thanks to a lovely new book by Peter Trippi I’ve been admiring the paintings of Waterhouse, the Victorian Pre-Raphaelite who made the fabulous Lady of Shallot that hangs in the Tate Britain in London, close to Millais’ Ophelia. I’m really impressed with his compositions, and plan to use some of his structural ideas in my work. I particularly like the way he divides space into two in his tall canvases, using a light top half against a dark bottom half.
I’m making arrangements to take pictures for the Empress painting on Saturday morning, so I’d better get a bit more drawing done to prepare for the shoot so I know clearly what I want the models to do.