Another painting I found abandoned half-finished on a block.
I added a few touches-- the clouds, the wet sand, the distant greens--and can call it finished, I think.
I toyed with the idea of trying to unify the grass clumps with a wash, but sometimes, imho, "fixes" don't really help: I might have gained something, but I'd lose whatever freshness the greens there have ... and to me that's not a good trade.
Case in point: also found the painting below, which is pretty high key. Thought I might be able to finish it with some darks, but I couldn't pull it off. Kept adding not-strong-enough dabs and the washes got tired.
Sometimes I just try too hard ... and it shows. My sparrows show my anxiety about getting feather patterns "correct"!
I should try doing some freehand birds to loosen and warm up before attempting a painting because, after all, it's not a zoological rendering--getting the patterning exactly right isnt the point for me: I'd like to be able to get a confident, and convincing, impression.
If past experience is any guide, the warmups will probably be most appealing!
Taking a break from a big, in pages and importance, job: proofreading Ulysses!
Worked on this today and learned a little lesson: when working on a painting in stages, make sure all the parts are integrated. Although the problem here is really with the drawing: I drew the upper right sprig, started painting it, then added the lower two.
Further adjustments to the drawing to come, I think!
Getting closer, but still a way from what I want, and a long long way from approaching the apples off maybe the best apple painter in watercolor, Charles Demuth. (The best, imho, in oil is of course Cezanne!)
Charles Demuth, Still Life: Apples and Green Glass, 1925