From social media in bold and italics:

[ I made “Golden Sun Bathed in Red” very quickly in two drafts. The first draft palette work to cover the canvas with a purple I mixed from red/blue acrylic. Then around half an hour to an hour later I produced the entire work within approximately one hour using brushwork primarily.

Palette work can be seen for the sunray fronds. The paints I used additional to the red/blue purple are gold, cadmium red, iridescent copper, orange and green. ]

Do click on the image above, see for yourself the artistry within the painting.

The photography for the original image (shown immediately below) is a specialised style I developed from my sketch “King James VI & I Oak of 1612 Branches in Sunlight”. Whereas the latter is direct lamp light, for “Golden Sun Bathed in Red” I photographed with indirect lamp light.

The point I’m making with my artworks is light makes a difference to the presentation. Often I think how I wish an individual artwork to be displayed in terms of lighting.

For instance I have a specific installation idea for “Gold & Blue Abstract After Rothko” (click link to see artwork). I see “Gold & Blue Abstract After Rothko” in an enclosed booth. Each viewer walks in through the low ceiling doorway entrance, likely bowing as they do so. They reach the painting, sitting down at personable distance to the moonlit-like artwork.

Sat meditating. To contemplate their life and life. To refind peace.

By the way, I saved someone work for much later with “Gold & Blue Abstract After Rothko” to help with any potential restoration work centuries yond.

Here it is as a reference for a dear old lady of the future:

If Monet can begin with caricatures (please refer to the link here Claude Monet’s Caricatures) to influence modern French cartoons, then it is good in my eyes. Besides, I have an immense humour.

[ Claude Monet Caricatures website link courtesy of Draw Paint Academy ]

Breadcrumbs in tarragon crusted sea bass anyone?

Yesterday evening I was walking around theatrically to myself, waving my hands aloft in the air dramatically exclaiming ‘I see the hands of Calibos!‘.. continuing with ‘oh what eyes you have Grandma‘.. then finishing on chatter about wolves in sheeps clothing of fabled fame.

Fun, fun, fun the intellects of centuries past.

I went on to thinking about “The Allegory of Good and Bad Government“ (please click link to view). Artists of the 1300s understanding the contrary elements of good or nefarious intent.

Essentially “Golden Sun Bathed in Red” is specifically a mix of Van Gogh and Munch for style. Their work is loved for a reason..

.. quality and care.

The search for most every professional artist.

With this in mind I shall share with you a quote courtesy of Daily Rothko:

“…nobody has any conception of how poor we all were then. I remember maybe as late as 1955, you know, after the so-called triumph of Abstract Expressionism Rothko saying to me, ‘If somebody would pay me $500 a month for all my past work, which constituted hundreds of pictures, plus everything I’ll make in the future, I would gladly accept it in order to survive.’ I remember looking him in silence because we knew – and this is in 1955 – that nobody in the world would pay him $6,000 a year for his total output; and he was married with a child in the most expensive city in the world.” – Robert Motherwell

(Interview by Paul Cummings at the Artist’s home in Greenwich, Connecticut November 24, 1971, Smithsonian Archives of American Art).

Appreciating and dignifying the monetary value for his work Rothko was in effect asking for $5,882.48 a month if we adjust $500 in 1955 for inflation.

Today, completely unconnected to adjusted inflation Rothko’s rather modest 1955 commentary-offer easily proved worthwhile with his abstract paintings selling for millions of dollars.. each.