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Paul Baldassini Connecticut, USA, Raspberry Clowns & Festiva Maxima, oil, 24 3⁄ 8 x 37 1⁄ 4 (62 x 95 cm)

My Inspiration composite of many images. They rely on a up to four hours. I begin the underpainting
Most of what I paint these days are flowers — natural aptitude in design and composition, using quinacridone Mmagenta and odorless
peonies and roses in particular. I am awed by competence in photography, drawing, and mineral spirits, much like a watercolor,
the mathematics of repeating patterns under- the craft of oil painting. Like much great art, adding and removing paint as necessary.
lying their beauty and I methodically seek to they are a combination of fact and fiction. My When dry, I begin the overpainting using the
reveal the intricacy and elegance of their sketchbook is a digital camera with a macro direct method and a palette of 14 colors,
design. Like so much of the natural world, lens which I use to create compelling compo- painting a section at a time. Each new section
flower blossoms grow and develop according sitions that combine rhythm and repetition is seamlessly blended into the previously
to the mathematics of precise logarithmic spi- with light and shadow effects. As a designer painted section with minimal or no rework-
rals, increasing in size but never changing and image editor for most of my professional ing of previously painted passages. This
their shape, ever growing without ever chang- career of more than 40 years, I use digital method allows me to focus completely on
ing proportions. Their color and variety com- technology to examine and edit, larger than color mixing to achieve the right combination
mand my attention while the blossoming of a life, the flowers I photograph. I spend hours of color, value and temperature to model
flower triggers the sense that something exploring the design possibilities before I put forms, create depth and accurately render
miraculous is coming. I don’t have to travel brush to canvas. nuances of light and shadow.
very far to find them — many private and
public flower gardens are just a short drive My Working Process Contact Details
from my studio. Much like the old masters, I use a structured
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approach. After working out my ideas to cre-
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My Design Strategy ate a compelling composition, I carefully
The paintings I create are based on a transfer my design to the panel, often taking