Paseo de Otoño

The autumn feeling is there, fully committed. The warm palette holds together, that lower third especially where the burnt umbers and siennas go dark and dense gives real weight to the earth. The birds scattered through the light upper half do create mystery, though not the kind that needs decoding, more the sense of something half-remembered. The semi-abstract intention works better in the top two-thirds where the paint stays atmospheric. That face you're asking about, the one with red lips near center, breaks the spell. Not because a face can't live in abstraction, but because this one is rendered just clearly enough to demand a story the rest of the painting isn't telling. The birds feel like they belong to weather and memory. The face feels like it belongs to a different painting, one with figures and narrative. Your instinct to question it is right.

The temperature shifts are doing the real work here. You've got those cool grays in the middle distance playing against the warm ochres and that keeps the space from going flat even where the paint is thick and built up. The texture itself, all that layered impasto, catches light in a way that makes the surface feel alive. I keep coming back to how the darkest darks anchor the bottom, they're not fighting for attention but they're holding everything else up. The birds on the left especially, the one with the white chest, reads immediately even though it's just a few strokes. That kind of economy in the representational bits makes the abstract passages feel more generous, not less.

The biggest opportunity is in the middle, that zone where the face sits now. Right now the painting has two languages, the atmospheric bird-filled air and that more literal face, and they're not speaking to each other. If you remove the face, which I think you should, you'll have a large central area that currently relies on that focal point. That space will need something, not another thing to look at but a reason for the eye to move through it. The warmth is already there, but the value could push darker to create more depth, or you could let one of those gold passages really sing by keeping everything around it quieter. The upper right corner where a bird is just suggested, that loose handling, imagine that kind of touch filling the space the face would leave. Right now I'm reading bottom to top because the bottom is resolved and the top dissolves into light. The middle is where you'll decide whether this stays about birds and air or becomes about that one human moment.

Scrape or paint out the face. Do it this week, not as an experiment but as a commitment, and see what the painting needs once that spot is open. My bet is you'll see immediately whether it wants another bird there, just a suggestion in a darker value, or whether it wants to stay empty and let the texture do the talking. You won't know what the center can be until the face is gone. If you scrape it while the paint is still workable you'll get a ghost of it in the texture, which might be exactly the mystery you were after in the first place.

The autumn feeling is landing, especially in that warm ochre-to-rust gradient at the bottom and the way the whole thing glows like late afternoon through dry leaves. The birds scattered through the composition give it movement without making it literal, which is exactly where semi-abstract lives best. The mystery part works because my eye keeps traveling, finding new birds I didn't see at first, little pockets of darker paint that could be more figures or just shadow. About the woman's face with red lips near center: yes, remove it. It's the only element asking to be read as a straightforward portrait in a piece that otherwise invites softer focus, and it pulls attention in a way that flattens the mystery you're after. Everything else in here suggests rather than declares, but that face declares, and it's breaking the spell.

The large bird on the left is your anchor, and it's perfectly placed. Enough detail in the wings and body that it reads immediately, but still painterly enough to belong in all that texture. The way you've built up the surface with what looks like palette knife work or heavy brush gives the whole thing a physicality that suits the subject. When I paint something meant to feel like walking through it, I need that texture to do some of the work, and yours is. The value range is working too, warm lights in the upper third cooling and darkening as you move down, which gives the piece a ground to stand on even though it's abstract. My eye enters at that big bird, travels through the smaller ones, and keeps moving instead of getting stuck.

The biggest opportunity here is to decide how much you want those smaller birds to emerge versus dissolve. Right now they're in a middle state, readable enough that I'm trying to count them but not quite clear enough to satisfy that impulse, which creates a little visual frustration instead of mystery. You could push them further into the atmosphere, let a few disappear entirely into the paint, or bring two or three forward with slightly more definition while letting the rest recede. I'd vote for the first, more dissolve, because the piece gets more interesting when I'm not sure if I'm seeing birds or just the memory of birds. That ambiguity is what makes semi-abstract autumn work, the way late-season light makes everything a little uncertain. If you take out that central face and also let some of those background birds melt back, you'll have more room for the viewer to bring their own story instead of hunting for yours.

Glaze over the woman's face and the areas immediately around it with a translucent layer of your warmest ochre, the color that's already working in the upper middle section. Let it sit wet for a minute, then scrape or lift back through in a few places with a palette knife to create the same kind of texture you have everywhere else, so that area integrates instead of just disappearing under a flat cover-up. That'll solve the problem without creating a blank spot that draws attention for a different reason.

That swallow in the upper left is the commercial anchor of this piece. The eye goes there first, and it gives a buyer something to hold onto in an otherwise abstract field. Work that blends recognizable nature subjects (birds, leaves, figures) into heavy texture and warm earth tones sits in a strong corridor right now: collectors who love abstract art but want a foothold, and nature/bird enthusiasts who want something more sophisticated than illustration. The tiny solitary figure at the bottom left adds narrative scale and emotional weight, which is exactly the kind of detail that makes someone stand in front of a painting longer at a show. That combination of discoverable figures emerging from abstraction is a genuine hook.

The woman's face with red lips you mentioned removing is the single biggest commercial question here. Right now it competes with the swallow for attention and pulls the painting's story in two directions, which makes a buyer hesitate because they can't quickly tell someone what the painting is "about." Removing or dissolving it further into the texture would let the piece commit to one narrative lane: solitary figure, birds, autumn chaos. That clarity is what moves a painting from "interesting" to "I need that on my wall." The other opportunity is format. At 40x50cm this reads as a study, but the texture and layered imagery have the presence of a much larger piece. If this subject and approach resonate with you, a 80x100cm or larger version would command a completely different price tier and read as a statement piece over a sofa or in an entry hall.

Before you touch the surface again, photograph it as it is now, then paint out or absorb that face and photograph it again. Put both versions side by side and show them to three people who are not artists. Ask which one they'd want to know the title of. That ten minute test will tell you whether the face is adding mystery or adding confusion, and it doubles as a piece of process content you can post, because "which version do you prefer" posts consistently pull high engagement and train your audience to feel invested in the finished work.

Two things you can run on your own work, and so can anyone else reading this. They open on whoever is signed in, so you each get your own.

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