Flowers and Fruit by helanker

2D • Still Life • posted on Oct 26, 2015

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Description

Made this quick sketch a few days ago just for the fun. Still on the phone book page. To make it possible to paint on such a page, I use to glue 2 pages together or glue a gelli print to it with Medium Gel. Sometimes on both sides. Thank you for viewing and commenting :)

Comments (13)

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ArtistKimberly

2:14PM | Mon, 26 October 2015

Beautiful Work,

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Cyve

3:20PM | Mon, 26 October 2015

Fantastic painting my friend... Wonderfully done !!!

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jayfar

4:31PM | Mon, 26 October 2015

Wonderful work again Helle.

Thank goodness for old phone books !!!

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MrsRatbag

5:49PM | Mon, 26 October 2015

Beautiful!

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drifterlee

5:52PM | Mon, 26 October 2015

Gorgeous work!!!!!!

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auntietk

7:22PM | Mon, 26 October 2015

I'm enjoying the depth and complexity the phone book pages give your paintings. This is lovely!

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goodoleboy

9:58PM | Mon, 26 October 2015

Instead of throwing them out, you have put the phone book pages to good use with your lovely acrylic abstract bouquet and fruit paintings, Helle.

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durleybeachbum

2:22AM | Tue, 27 October 2015

The freedom of the brushwork is wonderful , Helle. A very clever use of this unlimited resource.

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anahata.c

8:39AM | Tue, 27 October 2015

yes, as Andrea says, the freedom of the brushwork is wonderful. You have cezanne in there. I'm not saying you're imitating cezanne, it just comes out of you naturally. I mean in the way cezanne did shading with angled "squared" strokes, thus dividing shadows into 'cubist' segments, and giving them real energy and electricity. (He was the formal pre-cubist, so it's fitting that cubists got so much inspiration from him.) Your strokes on the fruits flow largely on one angle, and that draws them all together formally. But also, there's a vitality to your brushwork: It looks like you splashed it on in a fit of inspiration. Fast painting just doesn't stop you: You do such energetic work with it, and formally strong work, too. Plus the contrasts of the purple grapes, the amber-orange pear, and the light blue vase. Your surrounding washes are terrific, both in strokes as well as shape and colors. And I love how you brought some of the frame's hue into the painting, on top. And the flowers are bursts of shape and color, spontaneous but still retaining a flower-like presence. This is serious work, Helle. And the phone book? I couldn't explain why, but the pattern of those lists makes a perfect background for the painting. I don't know why---if you'd told me about it, but I hadn't seen it, I'd think "no way". But it's like wallpaper. See what I mean about newsprint in paintings---how Braque and Picasso didn't use it nearly as integratedly as you do? For them, newspapers were radical 'concepts': Putting them in a painting was unheard of back then (early 20th C). So they stuck them in, like a chunk of rock or wood. But you make them backgrounds, melding into the whole. And the paint-wrinkled edges just add to the textures of the painting. This is terrific, Helle. I hope you continue, you're doing wonderful work in this medium.

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