Black Curve, Red Bar, egg tempera on calfskin parchment, 6 1/4 x 8 1/2 in.
Even though this painting does not have any direct sunlight in it, it feels bright to me because of the intense blues and the red of the almost-central bar. I thought of dulling that red, but then decided to take a chance that it wouldn't look too strong. I think/I hope that the brilliance of the blue and the strong dark of the black cylinder give it all a sense of balance; as does the horizontal and vertical composition, leavened by the one diagonal and the black curve.
I only realized that I was doing a series of red, or rusted, bar pictures after I was finished with the second and about to work on this one. I gather lots of images each summer for the year's painting; I don't why I worked on these three in close succession.Perhaps working on a theme with variations is something to think about moving forward, as I do occasionally with my textiles, which you can see in this blog post.) Farmers will be readying their equipment for the new season's work, so I'll be heading out searching for motifs very soon.