In the beginning I like to keep the forms loose and very fluid. Finding the composition as I go along in a very organic way helps to portray the growing pattern of the roses and interlacing leaves and stems. The light was dappled and I needed an umbrella in order to see the image on my canvas.

This next study was painted from a reference photo. I decided to zero in on the main rose in the middle and severely crop the rest of the photograph. Using a photo can be a valuable tool but you must be able to recreate the form rather than simply copy the photographic image.

Working in a series painting the same kind of motif over and over can be a great learning experience. I feel like I really know the growing pattern and feel very comfortable with the forms because I have taken the time to “get to know this rosebush” .

I decided to use some of the studies to create a studio painting. It is based on the earlier plein air work and a photographic reference. Working on a larger size demands a different sensibility then the smaller works. I started off with a loose “grisaille” and then proceeded to move into the local color hoping to keep the same freshness of the smaller works.

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I have been thinking alot about my visit to Italy a few months ago. I am so glad I had the opportunity before the pandemic took hold to see firsthand masterworks of art. I will always remember the magnificent art everywhere we went. The impressive masters of the Renaissance such as Michelangelo, Titian, Raphael, Botticelli and countless other lesser known artist all share one thing in common; the absolute knowledge of the craft of painting. the ability to draw and conceive in paint the illusion of reality within a formal structure. I wanted to “construct” this painting on the principles of abstract design and composition as much as representing reality. I think I achieved some of that goal.