Colour harmony is important for the pure enjoyment of the artwork. The colours of sun and sky, for example, and classical, harmonious, joyful hues are evocative of late spring, Wordsworth’s poem “Daffodils,” French décor and gayety.
This is one of my favourite small oil paintings. Note how the green is more of a yellow-green than a true hue of green. The yellow warms toward a yellow-orange in parts, and this becomes a close colour harmony of yellow-orange, to yellow, to yellow-green. The true opposite to those hues (colour) would be violet.
I chose a blue. This wasn’t a perfect split-opposite colour harmony, but it is one I like. As it’s not a perfect colour harmony, it works best that I kept the blue slightly subdued at a mid-chroma or colour intensity rather than at a full, high-chroma, intense blue, as that would have been visually jarring.
Nature is a good teacher of colour harmony. Rarely do you see colours clashing in nature.
By subduing the blue with white to form pastel tones and with its near opposite, yellow-orange, I formed subtle greens and greys, depending on the balance of blue to yellow-orange and white in the mixture. I do not use black in my flower paintings.
In my Dreaming Billabong novels (written under the pen name derivative of Kathryn Shell—Ryn Shell), I have Lesley Fife’s bedroom in the Fife homestead decorated in the colours of blue and yellow. Lesley’s daughter Emily loved waking up to this cheerful colour scheme.
Maybe I’m the proverbial cockeyed optimist, but I defy anyone to be perpetually miserable when surrounded by clear blue sky and golden yellow flowers, unless they happen to be allergic to the blooms.
I used one of the best stretched Belgian-linen canvases and professional artist, Maimeri Puro oil paints to create this work. The back of the artwork will show the quality of the canvas. Look for close weave in the fabric.