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the small patch of blue sky seen in the upper left comer. It is a masterful record of Williams’ painting process, held in place by a strong composition.
The still life paintings are brighter in color and more precise as objects and flowers are observed and enjoyed at close range. There is an exactitude in his looking that doesn’t leave us overwhelmed with detail. This is still about paint. We are seeing and feeling what Williams might feel to be the essence of these flowers and objects.
In “Pansies,” the flowers feel light as they grace the air on their stems, despite the thickness of the paint. The small blue triangle is such a satisfying element—it complements the buoyancy of the yellow and orange pansies. These paintings never feel overworked. They often have a limited palette (pink, white and grey or yellow blue and grey) or a more playful selection of many bright colors at once. “Buffalo Willow with Pears” and “Hot Bells” are two colorful favorites.
The backgrounds in these still life paintings remain simple and act as just that- a background for the play of color and shape on its surface. The flatness of the painting surface is maintained, furthering the role of the paint to be read directly.
In contrast, each mass or shape in the landscarpes is essential and functions in relation to the whole. The pictorial space of the landscapes is therefore more fully realized.; It is
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