Still Life Compositions
Still life painting gives the artist full control over his subject. Provided the still life compositions have been set up properly with a steady light source — north-facing window, or artificial lights and reflectors — then the artist is free to concentrate on rendering what he sees.
The
first thing to ensure is that the composition is
indeed how you want it. To make doubly sure, you
may wish to draw careful sketches, since the effect
of a painting is very different from simply looking
at the subject source. Then you will probably want
to analyze the tonal values and ensure you have
a pleasing pattern of dark and light. Then come
the color schemes, where you will work out the palette
beforehand, either making oil sketches or at least
laying out the main colors in a rough approximation
to their arrangement in the final painting.
Now you will need to finalize the composition and check the lighting is correct. Many artists will not want to paint exactly what they see — in fact, probably won't be able to unless aiming at photo-realism — but it is very difficult to paint anything that cannot be seen properly. Spend a good time on the setting up your still life compositions, therefore: it's crucial.
How you proceed now depends on your aims and oil painting techniques. The old master approach of repeated layers of paint and glazes is time consuming, but allows for great control and variety of effects. You will see how beautifully Zurbarán has painted the oranges in their wicker basket ('Still Life: Lemons, Oranges and a Rose'. 1633. Norton Simon Museum. California). They have a a significance that such objects do not normally possess in real life, perhaps because so much of Zurbarán's work was done for religious orders.
Quite different is the detail from the Chardin still life ('The Silver Goblet'. c. 1759. Musée du Louvre. Paris). for which perhaps poetry is the word that comes to mind. Again this is careful and long-considered painting, making full use of layers and glazes. The third detail is a tiny section from the work from a painter who caused a a great deal of trouble: Edouard Manet: his 'A Bar at the Folies-Bergère' (1882. The Courtauld Gallery. London). It is bravura painting, only roughly modeled but done with great panache. That was Manet's way, provocative to the respectable bourgeoisie, and to the Academy that stipulated a high finish.
These
are among the more useful reference sites and books.
