Sue Bains
My Stuff

I made a deliberate decision to complete the mastercopy in one sitting, although some obvious errors had to be corrected in a brief second session. I also measured the size of the paper to ensure I had the correct composition/layout/ratio.
The original appeared to have been painted straight onto a white background – which is visible in some areas, so I painted straight onto a piece of white paper.
It appeared to me that there was little blocking, but that the paint had been applied in bold brush strokes; mixing on the palette and on the canvas. The sky has obvious brushstrokes which indicate the clouds and although I attempted this, I returned to add more tone when trying to get the parasol to show up against the sky.
The palette appears quite limited with a warm blue / mauve, white with a blue hue, sand painted from yellow ochre and a muted Prussian blue sea. The woman on the right appears at first glance to be black, but in fact, her parasol is a deep green and dress is Paynes grey with some black tones.
The white highlights are the cherry on the cake of the original – looking spontaneous and bold. I don’t think my copy has this same sparkle which I feel is inevitable! I also think he may have used a more opaque white as it glows far more than my Titanium white despite using it straight from the tube.
The woman on the left (Camille Monet) appears slightly more sunk into her chair whereas she is more upright in mine, but other than that, I am quite pleased with the compositional copy.