Life Classes – 14 December 2016 to 7 March 2017

Life Classes

14/12/16 17.00-19.00

The challenge this week was two models, one male and one female. This gave us an opportunity to explore the differences between muscular and angular and rounded and soft with various media and mark making. Our male model was tall and slim, not unlike Egon Schiele, so I tried to use definite line with felt tip pen in our short poses to achieve strong shapes and almost branch-like limbs.
On the other hand, our female model was voluptuous and curvy, so I changed to the softer medium of conte stick and used more sweeping marks to define her.
Drawing the two models together illustrated the differences even with using the same medium. In the final long pose of 20 minutes, I could use John’s back as the background for more of a portrait of our female model which worked well from the viewpoint I had.

2 minute pose – brown felt tip pen on paper

2 minute pose – brown felt tip pen on paper

2 minute pose – brown felt tip pen on paper

2 minute pose – black conte stick on paper

5 minute pose – black conte stick on paper

10 minute pose – black conte stick on paper

10 minute pose – black conte stick on paper

 

20 minute pose – black conte stick on paper

 

10/01/17 17.00-19.00

This week we had a treat of longer poses to enable us to work into our drawings more. As we have our classes in the sculpture studio, there were several half-finished or rejected cast figures lying around. For the 25 minute pose, our model John was positioned with a child figure, which although incomplete, made quite a touching image. We had to decide whether to make the figure look real or as it was, made of plaster. Although, this was not my intention as such, the boy looks fairly real and had the same treatment as John.

The 40 minute pose was really interesting as, again, a cast figure was included. It was of a woman, about to dive into the sea, however, when laid down on its side looked as if it was reclining. John then draped himself over the figure and as the light was fading, a lamp was shone on them to offer more highlights. For this one, I decided to use brown paper as a mid tone and black conte and white chalk for the darks and lights.

5 minute pose black conte stick on paper

25 minute pose black conte stick and white chalk on paper

 

40 minute pose black conte stick and white chalk on brown paper

17/01/17 17.00-19.00

We had a female model this week, Sally was six months pregnant, so a lovely subject to draw. To avoid her having to pose in different positions, this week, the model stayed still and the students moved around her. We found our starting viewpoint and then sketched for 30 seconds and moved on to another view. This really got us warmed up and then we were able to make informed decisions where to stand for the longer poses. Moving up to the three-minute drawings we made more choices of view to decide our 10 minutes posed drawing, up to 15 minutes.

Same pose but different viewpoints for 30 seconds – black conte on paper

Same pose but different viewpoints for 30 seconds – black conte on paper

1-3 minute sketches – black conte on paper

10 minute drawing – conte on paper

 

15 minute drawing – conte on paper

31/01/17 17.00-19.00

We had a new model this week, Reuben. He was able to achieve some quite dynamic shapes for a while, so we could explore more expressive poses. We had the traditional short warm ups and then a couple of longer ones at 15 and 20 minutes.

1 minute poses – charcoal on paper

1 minute poses – charcoal on paper

1 minute poses – charcoal on paper

3 minute poses – charcoal on paper

5 minute pose – charcoal on paper

15 minute pose – charcoal, white chalk and putty rubber on charcoal tinted paper

 

20 minute pose – charcoal, white chalk and putty rubber on charcoal tinted paper

 

07/02/17 17.00-19.00

This week we had Reuben again. Always using our studio location to our advantage, some large geometric shaped pieces of hard board that were lying around made interesting props for our model to use.

The combination of dynamic poses and the geometric shapes made some fantastic short sketches possible. I mostly used black conte on paper but switched to sepia ink on water-colour paper after the break. Although, fun to use, these were not so successful, however, I enjoy trying different media and pushing myself. My favourites of this week were the 1 minute poses.

1 minute poses with geometric props – conte on paper

1 minute poses with geometric props – conte on paper

3 minute pose – conte on paper

5 minute pose with geometric props – conte on paper

Seated 5 minute pose – conte on paper

10 minute pose – sepia ink on watercolour paper

15 minute pose – sepia ink on watercolour paper

21/02/17 17.00-19.00

This week, inspired by the BBC Big Painting Challenge program, we were presented with long bamboo sticks and easels. These were limited in number so we took it in turns to use them, some more cheerfully than others, I have to say. Sticking with charcoal on paper until my turn, then switching to some jumbo, really black charcoal just before to get the feel of it. Once this was taped to the end of the bamboo stick, which was around 2 feet long, it was quite unwieldy to apply it to the paper. However, once I got the measure of distance and pressure, it was good fun and very expressive to use. It also gave me the chance to see both the model, Caroline, and paper at the same time without moving my head. I think this helped with proportions as they were directly comparable. Because of this, I used the stick to map out my composition for the long pose even though I switched to soft pastel to add colour.

1 minute poses charcoal on paper

1 minute poses charcoal on paper

5 minute pose charcoal on paper

5 minute poses chunky charcoal on paper

10 minute pose – chunky charcoal taped to the end of a 2 feet long bamboo stick on paper

25 minute pose – soft pastel on green pastel paper

 

28/02/17 17.00-19.00

Our treat this week was one long pose in whatever media we wanted to use. I broke out the oil paints and canvas in anticipation. Of course, we weren’t going to get away with it that easily, another BBC Big Painting Challenge exercise awaiting us first. On scraps of paper with ink and a big brush, we were to follow the rule of looking for 90 seconds and painting for 30. We had a few runs at this and it loosened us up for the long pose, I have no pictures of these as they were left behind. I made a couple of sketches to work out my composition before painting having previously coloured my 24×30″ canvas with a mix of burnt sienna, ultra marine blue and white acrylic to have a neutral ground both in tone and temperature on which to work.

A few reworks at the beginning to get the lean of the pose and positioning and then I was away. However, due to not being to get too far back from the canvas I noted that the proportions were slightly askew when the session came to its end. At home, I made adjustments with charcoal when the bent leg was too long, the forward foot a little misshapen and the head too large,  The head, I realised, because of the carnival mask the model was wearing, had been elongated from the forehead to its top and can be fairly easily rectified. The photo below shows the charcoal reworking and once adjusted in paint will be photographed and posted.

Compositional sketches for oil painting

Painting with charcoal adjustments

Painting with charcoal adjustments and tape to show where the top of the head should be

 

07/03/17 17.00-19.00

Our model this week was John. Our main projects were to be a 20 minute portrait and a 40 minute standing pose where John would be hanging on to a wire cable from the ceiling. First of course, a warm up exercise! Using whetted paper, a large brush and diluted ink, we were to paint a series of poses on one sheet. These were quick 1 minute poses where the main lines and gestures should be recorded. It was interesting to see the ink disperse on the wet paper, along with the colours that appeared at the fuzzy edges of the marks, in my case a blue/purple and yellow.

For the portrait I used soft pastels and a buff tinted pastel paper and for the standing pose, soft pastels and a aqua/green tinted paper. Initially, for the portrait, we tried a quick ink sketch in the same method as the warm-up, which was really effective and denoting light and dark areas of the composition.

A running race series of 1 minute poses with diluted ink on wet paper

A standing to crouching series of 1 minute poses with diluted ink on wet paper

Ink on wet paper preparatory sketch for portrait

20 minute portrait – soft pastel on buff tinted pastel paper

40 minute pose hanging on to cable suspended from the ceiling – soft pastel on aqua/green paper

 

 

 

 

Life Class – 6th December 2016

06/12/16

Life Class  17.00 – 19.00

It was a bit of a rush getting to class today – I decided to bring different media to ring the changes. Am I setting the scene for a “not so successful” session – possibly!

Caroline returned to be our model today. Our loose theme was Eve, complete with her apple. Our quick sketches, 2-3 minutes, entailed “Eve” reaching up towards the apple on a ladder – to be fair, there are no apple trees in the studio!

Reaching up. 2-3 minutes each. Charcoal on paper. Seated viewpoint.

On the ladder. 2-3 minutes. Charcoal on paper. Seated viewpoint.

Seated pose – head back. 5-6 minutes. Charcoal on paper.

 

 

We then had “Eve” sat down having obtained the apple, leaning back, contemplating eating the forbidden fruit – possibly. This I found particularly tricky today, the proportions of my drawing were way off, with the head and upper body being too small – I think this is due to me being seated and my board being at an angle. No excuses, this has happened before, however, I failed to take this into consideration and made the same old mistakes!

 

 

 

Two seated poses side by side in different media. Left sepia acrylic ink, right black conte stick. 8-10 minutes each.

A challenge of using different media for two seated poses on one sheet of paper was next. I had brought some ink and a stick of bamboo to draw with, so I used this for the first drawing. With the ink being water-soluble until it’s completely dry, I also used a brush and water to give some tone by moving the ink about. The bamboo is quite tricky to use (in the same way as a dip pen), but the effects are pleasing. With the second drawing, I felt more in control using the conte stick, however, it looks quite boring and safe in comparison. Proportions were a little better, but no feet!!!

 

After a short break, I returned to the easel to stand for the next pose. Initially, this was to be a pose to last until the end of the session. As I’d returned to my ink, bamboo stick and brush, I was quite happy with this – however, everyone else had finished after around twenty minutes, so we squeezed in another. As I was a slow coach on this one, I cheated a little and added more ink and sprayed with water to indicate the surface that the model was lying on.

Lying pose of 20 minutes. Sepia acrylic ink on watercolour paper, using bamboo stick, water with brush and spray.

Seated pose of 15 minutes. Sepia acrylic ink on watercolour paper using bamboo stick, brush and water spray.

The last pose was seated, I was standing – no excuse for the dodgy proportions this time! Again using the ink, bamboo, brush and water spray bottle, I sketched out the shapes but the scale was morphing in and out dramatically. With a call of 5 minutes to go, I scrubbed the ink all over the paper with a tissue, scratched out some form, added water and using the brush, tried to redraw, adding stronger lines with the stick. This was an improvement and maybe it could have been saved with a little more time. I have to apologise to our good-looking model for making her appear ancient and masculine. Next week is another opportunity – however, lessons have been learnt this week!

 

 

 

 

Life Class – 29th November 2016

29/11/16

Life Class 17.00 – 19.00

The first class of our next batch of three sessions. The nights are drawing in now and a little chillier so all doors closed, but we can still hear the wind howling around, increasing the atmosphere in the room.

Our model tonight is Jerry – a first time volunteer, and he wasn’t let off lightly! Our first quick poses, around 2-3 minutes, were of Jerry dancing around and when someone shouted STOP, we had to draw the position at that moment.

Tentative dance movements to start. 2-3 minutes each, charcoal on paper

The Twist and Shout! 2-3 minutes each, charcoal on paper

At the ballet bar-ish. 2-3 minutes, charcoal on paper

Classic reclining pose with grapes.
Approx 10 minutes
Charcoal on paper.

 

 

 

Producing a bunch of grapes, our tutor asked for a classic reclining pose on a not so classic, rickety table. Our model duly obliged very successfully.

 

 

 

 

 

Next, we had two seated poses, both very different. One from a lower view-point, sitting on the floor and one from standing,

Simple seated pose from a lower viewpoint. Around 10 minutes. Charcoal on paper.

Seated pose where chair must be included to make sense. 10-12 minutes. Charcoal on paper.

 

 

 

 

 

 

 

 

 

 

Our model was then asked to stand on the table, and I sat back on the floor to fully explore the lower viewpoint. This altered proportions significantly, not as much as a camera lens would, yet the perspective was noticeable with the head appearing smaller than life compared to the feet and limbs. It was definitely worth trying.

Standing pose on a table, with myself seated on the floor. 10-15 minutes. Charcoal on paper.

 

Head study with model lying on the table with viewpoint from sitting on the floor. Charcoal on paper.

Finally, a pose on the table but with the model lying on his back, curled with legs bent and pulled into his chest. Daylight had completely gone by this time and we had directional lighting onto the model. Still sat on the floor, I was very close to the table at eye level with our model’s head. The light cast interesting shadows and with model having a shaven head, it was interesting to see the structure of the skull and all its lumps and bumps. Unfortunately, I took too long to fully explore this and ran out of time.

 

 

 

 

Life Class – 8th November 2016

08/11/16

Life Class – 17.00-19.00

Our middle class of the series of three. Today exploring tone with our lovely female model, who was unbelievably still during all the poses. We were again in Jason’s studio overlooking the Marina Rubicon in Playa Blanca – not sure how much work I would get done if I was there permanently!

3-4 minute reclining pose
Black chalk on brown paper

We had been encouraged to bring black and white water-based paint with supports of large cardboard off-cuts to facilitate quick drying. We began with a few 3-4 minute sketches to get going.

 

 

 

 

 

3-4 minute reclining pose
Black chalk on brown paper

 

 

 

 

 

 

 

 

3-4 minute seated pose
Black & white chalk on brown paper

We had a quick break outside at this point to look at some new work of Jason’s – an adult man on a full-sized child’s swing mid momentum, with his jacket tails flying out behind him – fantastic! Along with that, a sunset over the sea that was beautiful beyond words! Back to it!

 

 

 

 

 

Out with the black and white paint and a quick shuffle around to different view points together with the appearance of a few props. Working on large pieces of cardboard from cut-up boxes was interesting, it was extremely absorbent and the paint did seem to sink in a lot, but that encouraged a more liberal application of paint.

 

 

 

10 minute seated pose, holding a cast head, that just happened to be lying around
Black and white paint on cardboard

10 minute standing pose, holding a tree branch
Black and white paint on cardboard

 

 

 

 

 

 

 

 

 

 

30 minute reclining pose, in semi darkness with directed light on the model
Black and white paint on cardboard

Next week we have elected to do one long pose – probably after a few warm-ups – and I think I’ll try to join some brown paper together and work on that. I enjoyed the black and white theme, so may get most of the subject blocked in with paint and then work into it with charcoal and white pastel after the break???

Here’s a link to this session‘s Facebook post by Betty our tutor.

 

Life Class – 1st November 2016

1/11/16

Life Class – 17.00 – 19.00

My first life class in Lanzarote! The wonders of the Facebook network has brought me together with a new teacher, class mates and venue!

Firstly, the venue! How lucky are we to be able to use a professional sculptor’s studio here in Playa Blanca, Lanzarote? Not only that he, Jason deCaires Taylor, has the commission for creating an underwater sculpture museum of people from Lanzarote. Many have already been submerged and many more are being cast and constructed at the studio.

underwatermuseumlanzarote.com/en/info-museo-atlantico/

We are surrounded by various body parts, moulds and, full sculptures outside ready to be installed in the sea. After submersion, the sea life claims the work as its home and the figures take on a whole new dimension forming a man-made reef of colour and texture – breathtaking.

Back to the class: This is the first of a series of three sessions, with this one looking at line. We could work in any media so I began with pencil, moving on to black conte stick and white conte pencil. This week we had John as our model, who was very tall and slim. Our tutor was keen to reference the “dog women” paintings by Paula Rego, which also merged with the Halloween theme of werewolves and scary poses. So our model had his work cut out!

Two minute “scary” poses
Line in Pencil

 

 

As is usual, we began with a few 2 minute poses to warm up. Here I concentrated on gesture and stance rather than detail.

 

 

 

 

 

Five minute poses, one being timid and scared, the other being a “dog” pose after Paula Rego.
Line in pencil.

After a quick break, we returned for a couple of longer drawings of around 10 and 40 minutes. The light was fading quickly and we had minimal lighting particularly on the final pose. The model had some subtle highlights but I could barely see my drawing – it was interesting to see where I felt I should enhance the darkness because of this.

Ten minute pose in a position common to sleeping dogs.
Line in pencil.

Sleeper by Paula Rego

 

 

 

Referring back to Paula Rego, our model was posed in a position often adopted by dogs when sleeping.

 

 

 

 

 

 

A similar pose painted by Paula Rego as the inspiration.

 

 

 

 

Final forty minute pose in very subdued light with some subtle highlights visible.
Black and white conte.

 

Portrait: Ann – 28/04/16

28/04/16

Portrait: Ann – 28/04/16 & nn/05/16 – Two Sessions

Ann is to be with us for two sessions which will have about a month in between them. Therefore, this is the story so far…

Ann often wears “costume” for our sittings and this time she is a gardener, complete with hat, gardening gloves and secateurs (which are shiny and red and I can’t wait to add in!). I am tempted to add a couple of pots and a bag of compost to the composition in between Ann’s sittings.

As usual, we didn’t know who was sitting for us in advance, so my canvas board (20 x 24″), was prepared with an acrylic ground in fuchsia pink, blue and white in a random fashion. As I was working, I was imagining Ann surrounded by peonies! It was left up to us how much of the figure we incorporated into the composition, and as it was such a lovely pose, I really wanted to capture the entire figure. At the end of session one, I was pleased with the placement and proportion of the figure. I wiped out the face as it was getting too detailed and will look forward to that challenge next time.

Ann (work in progress)
Oil on canvas board (20 x 24″)

 

 

Portrait: Ti – 07/04/16

07/04/16

Portrait: Ti – 07/04/16 – One Session

Resuming classes after Easter Break, we had an intensive drawing class with Ti, who, again, has sat for the class before and always wore beautiful dresses. It’s a shame we weren’t painting.

This time we had an interesting challenge set for us. Using charcoal and putty eraser on white A2 paper, we were to make a tonal drawing, at first avoiding line as much as possible. Nothing unusual there one may think, except we had the lights off and curtains drawn. There was very little light to see either model or paper, so all we could see were the darkest tones. Initially, avoiding any detail, the darkest shapes were worked into the paper and, after about 10 minutes, a curtain was partially pull back to allow a small amount of light. From this we continued working into the drawing only with what we could actually see. This continued at intervals, gradually increasing the light and working back into the drawing focussing only on tone, both adding and subtracting. I really enjoyed this as it gave solidity and form to the figure drawing and the detail could be imagined and seen in the mind’s eye.

 

Ti
Charcoal on A2 white paper

After tea break, we all moved around so we had a different view-point. We repeated the exercise as before, but this time concentrating on the head and shoulders. The was great practice and made me really look at the planes of the face and form of the head. My tutor suggested I stop at the point below and maybe start another drawing in the time we had left.

Ti
Head and Shoulders
Charcoal on A2 white paper

Ti
Small head and shoulders sketch
Charcoal on A3 paper

 

 

The second small head and shoulders sketch was completed in the 15 minutes or so remaining of the lesson on A3 paper.

 

 

 

 

 

 

 

Portrait: Annabelle – 10 and 17/03/2016

17/03/16

Portrait: Annabelle – 10 & 17/03/16 – Two Sessions

A nice two-week sitting with Annabelle who has sat before and doesn’t move a muscle! As it was a double session, I had the luxury of having time for almost a full figure portrait. Using a nice sized 20 x 24″ canvas board, with a ground of mixed colours from a left over acrylic palette that included cadmium red, ultramarine, white and various mixes that was randomly brushed on. This gave an exciting and dynamic base that was inspiring to work on. I made a couple of sketches to firm up the composition, deciding on an approximate three-quarter length portrait. The first week, I concentrated on composition, blocking in, establishing colour ranges, tone and loosely establishing the background shapes. At tea break we were fascinated to hear about Annabelle’s exploits at being an extra on the TV drama Mr Selfridge. I spent my lunch hour scanning every second of the episode but, disappointingly,  I couldn’t be sure I saw her – that’s the trouble with a period drama, the costumes and wigs completely disguised her!

The second session was working on the details of the face, clothing etc. I also decided to leave some of the dynamic brush marks from the acrylic ground visible for added interest.

Annabelle
Oil on 20 x 24″ Canvas Board

 

 

 

 

Portrait: Les – 14/01/2016

14/01/16

Portrait: Les – 14/01/16 – One Session

First lesson back for the new year.  As we often do, we started off with a drawing session to get back into the swing. Les, our model, has sat for us before and knows what to expect. Our tutor wanted us to make three different drawings in charcoal, three different poses, one with Les wearing a hat. We each stayed in the same spot and Les changed his position for variety.

Les – seated upright
Approx A2 – Charcoal
(Head and shoulder positioning)

The approach we had to take, was to have a rectangular piece of paper placed on our paper to indicate the position of the head. The size of this rectangle depended on the size of support we were using. Mine was about the size of my hand span and wrist as I had a large piece of drawing paper. Les’ first pose was a straightforward seated position. As we were to draw head and shoulders, I placed the piece of paper slightly off centre vertically and in the top third horizontally. Once placed, we then could visualise the head and began to draw the level and shape of the shoulders, noting the collar of the jacket, neck and head. As we are always being told, the position of the shoulders helps describe the sitter and if they are incorrect, it will never look quite like them. Unfortunately, as I drew, I enlarged the scale inadvertently and the head went off the top of the paper a little.

 

Les – seated upright and sideways, with hat
Approx A2 – Charcoal
(Head and shoulder positioning)

 

The next pose was incorporating the wearing of a wide-brimmed hat with Les sitting sideways on his chair and resting his hand on the back. Initially, I placed the piece of paper more centrally on the horizontal. I sketched in the shoulders with the rough shape of the hat overlapping it. I then became aware that I would not have room for the resting hand. By moving the paper over to the left and making use of the marks already made on it for the hat, I could easily judge the new hat and shoulder position. After getting used to this technique, it became very useful to plan the drawing on the paper.

 

Les – seated, leaning forward.
Approx A2 – Charcoal
(Head and shoulder positioning)

 

 

 

The third drawing had Les, minus the hat, leaning forward in his chair in what may be called an enquiring gesture. Placing the piece of paper to the right of the drawing paper and at an angle gave me the position for expressing the pose. I felt this worked well although I probably should have angled the back of the head a little more. The face itself was a good likeness, backed up by Les’ stating that was him! Always a bonus.

 

 

 

Research Point: Figures in an Interior

Research Point: Figures in an Interior

Look at some paintings of figures in interiors from different periods and choose two or three pictures that particularly appeal to you… At least one of these should be from the twentieth or twenty-first century. Consider what you think the artists’ intentions are and look at the technical and creative solutions that they’ve brought to the subject.

(NB The images reproduced here are for editorial purposes only and not for any commercial gain.)

Again, as with other Research Points in this section, I have found many examples that really appeal to me. As with the others, I have set up boards in Pinterest and added some of these feeling that I have been selective, however, now having to choose two or three from these is so difficult. I have realised that this is part of the process, as narrowing down which to use also makes me think harder about what I am looking at. This is something I also need to do when painting myself – learn to be selective and think about what I want to say.

Boy in an interior oil 1911 by Jan Mankes (1889-1920)

Boy in an interior oil on canvas Painted in 1911. Jan Mankes (1889-1920)

This is not an artist I’m familiar with at all. Mankes was a Dutch painter who specialised in self portraiture, natural subjects and landscape. He died young, only 30 years old from tuberculosis, a common illness at the time.  This is particularly sad as he was a prolific painter and draughtsman and was evolving into interesting abstraction – who knows what he may have gone on to produce. The painting I have chosen is Boy in an Interior. It’s a simple title, yet on further inspection quite an unusual composition. There is definitely a nod to Vermeer and his interiors paintings, however, there are uncomfortable aspects. It is assumed that the boy is sat at the table but the chair is turned away towards the wall, the table doesn’t actually appear to be where you would expect. The light should be coming through the window you would think, and initially it seems so, yet there is no light on the boy’s face. I have read one account of the work and it suggested that the book that the boy is reading is a special one to the artist as it appears to be the source of light. This I can understand but again, there is no light on the boy’s face and it appears to be bounced beneath and in front of the book. I think this is a fascinating painting that draws the viewer into it and makes he/she work hard to decipher it. Not only this though, it is beautifully and sensitively painted, it has a limited colour range and is tonally interesting. I’m glad I found it in my searches.

Sleeping Woman  1961 by Richard Diebenkorn

Sleeping Woman by Richard Diebenkorn

I was lucky enough to go the Diebenkorn exhibition at the Royal Academy earlier this year. I had very limited knowledge of this artist too until then, and although he is revered particularly for his large abstract works, I fell in love with his figurative paintings. Not that there isn’t a large element of abstraction in these, there plainly is. This painting is an example of a fabulous cross-over. The interior is tonally fairly simple, yet it is easy to see the bench/seating that the model is lounged on. The strong diagonals are trademark Diebenkorn (from my limited exposure), and give a dramatic set for the character to play her part. The mirror gives another dimension to the figure and expands the interior without widening the frame of the image. Another painting I could look at for a long time and keep coming back to look some more.

 

I am desperate to add some Edward Hopper in here but let’s move on to the twenty-first century…

Andrea and Myrtle 2014 by Simon Davis

Simon DAVIS RP – Andrea and Myrtle 2014

This artist is someone I discovered at the Royal Society of Portrait Painters annual exhibition. This painting was displayed at the BP Portrait Exhibition 2014 and could be seen as a modern-day version of a Degas painting being a lady in her bathroom (with cat?). I have only previously seen portraits by him with no significant interiors, so I was blown away by the complexity in this one. There is such a sense of depth in this, considering that there are only two small rooms, however, the addition of the window takes the viewer further on and out of the picture and the tiled floors lead the eye in. There is an obvious second light source from the right in the anterior room that casts interesting shadows. The colours used make me think of early morning, maybe on a weekend as there is no sense of urgency in getting ready and out of the house. It’s a painting that makes the mundane and routine picturesque and beautiful.