'A certain realism'

Now for some technical information regarding technique. I used none other than bristle brushes for this painting to this stage.

OK ... we started with a value 4-5 burnt umber with a blue-gray interior for the figures. The blue gray was molded in the chiaroscuro manner and allowed to settle and dry. A higher value mix of light red/burnt umber and flake white was used to bring the flesh up to a warmth in the secondary areas (or turning point areas)that pointed upwards. The turning point areas that pointed down were left blue-gray(as seen in the background). In certain other areas close to the ground, and reflecting down, a little yellow was added. This took care of most secondary areas.

Working back from the highlights with a flake white, sometimes with a little red added and sometimes with a touch of ultramarine, and using a small bristle (1/4"), cut and blend the highlights into the secondary values. If desired at this stage you can add veins and other secondary areas as well painting wet-in-wet as time permits and adjusting as you wish.

The middle distance is best kept indistinct, yet atmospheric, while the foreground should not detract from the overall design.

GO TO .... the eye, the grape and the cherry

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