Friday, 13 February 2015


Through circumstances out of my control I've been delayed on the Art Party winners announcement. I should have it ready tomorrow evening.

MAKE ME AN OFFER - 16" x 20" OIL
I purchased this Matisse copy in an auction to support Gallery Vertigo a few years ago. I've never had the space to hang it and it needs a new home. It is painted in oil on shallow gallery wrap canvas. I'm looking for offers over $35 plus shipping.


Henri Matisse inspired work by Sea Dean
4" x 4" on Canvas Panel
Frame Approx 11" x 11"

To view my online Gallery of originals please visit Daily Paintworks
Shop for Limited Edition ACEO her

You will now find this elegant MATISSE LINE STUDY in my FRAME - MOUNT - MAT annex at Daily Paintworks. This is a substantial easel frame which is the perfect setting for the simple lines of Matisse. 


It will be no surprise that I love colour. Vibrant reds, soft lilacs, zingy oranges and velvety blues, I love them all. The challenge of a colourist is that you sometimes forget that it is value which builds a composition and value and colour are often confused.

"Value does all the work but Color gets the glory"

Not everyone sees colour the same way: Generally females are able to distinguish more subtlety and males are more likely to be colour blind. This discussion came up in class the other day and it got me thinking that perhaps women tend to choose colour based on it's own merit and men can more easily distinguish values. Therefore, female artists must be more vigilant in their use of colour and value.

If you are struggling to make sales, it is very likely your use of value and composition is getting in the way. It's always a good ideas to review your art sales periodically and the next time you do, check your sales against your use of compostional value. You will be amazed. Henri Matisse was a master of this.

Some tricks to seeing value are

1. Take a photo of your painting and use an app to change colour to black and white. Or take two photos, one in colour and one in black and white.
2. Put your painting on an easel or hang it on the wall, step back and squint.
3. Hold your painting up to a mirror.

A great exercise is to create a table mixing white through to black in ten even steps along the top of a sheet of paper. Then place each colour or mix you use regularly on a palette and by squinting try to select the grey in your chart closest to the value of the colour. Paint a swatch of that colour under the most appropriate column. Yellow will be close to white in value and Ultramarine or Dioxazine Purple will be near black.

For acrylic painters the colour will darken as it dries and you may need to switch to another column or guess how much you think the paint will darken as it dries. Darks darken two or three values, whereas lights shift less or sometimes get lighter in the case of mixes with a lot of titanium white. Watercolour quite often lightens in value as it dries and oil stays more or less the same.

If you do this exercise I would be interested in your findings and if you come to any startling realizations. Please leave a comment here.

Ref 4003 Matisse Line Study