I revisited several paintings of Sickert, The Camden Town painters and onto those interiors of Scottish colourists; drinking in the beautiful spaces created by Rose Hilton in her many paintings of interiors. In all of these there is a use of tone either muted or simply bright and expansive.
I cannot manipulate paint well yet. I can see the blends of tones that sing out - space, light and energy. Sickert produce some wildly creative brisk strokes of bright colour overlaid on muted body colour eg: 'La Hollandaise '. Tate Britain
Painting 1 of the interior built from the sketches that forced me to 'see ' the light and shadow, went better than expected. Colour selection worked well in that I was able to select useful tonal mixes to represent light and shape as well as the perspective.
A) Use of ochre at one point made a huge difference helping to foreground shape and create space, added depth by pushing back an area using paynes grey
B) the painting was better than the sketch because of the sketches done.
Selection of the cold blue for the distance proved not to be such as good choice as I tried to link the interior foreground door with a more intense set of hues. painting is cold despite trying to counter this with warm contrasts. Not very successful. Also it felt like I was painting with numbers because In trying to ficus in on colour shape, I drew in a grey outline and as a result, the paint did not have a life of it's own
Representing the forms, re looking out, was more successful because of perspective rather than use of colour.
If I repeated the exercise I would make bigger fewer shapes in lighter tones and study the difference between paint intensity, space needed and do a colour study beforehand