Re: Vincent Van Gogh technique
I really like these paintings. They're not really Van Gogh-y, in that Van Gogh's brushstrokes are usually much larger. Van Gogh's brushstrokes are rarely schematic or predictable; he gives us a lot of stroke variety without doing injury to the sense of form. For the most part, I think you've taken in that lesson, although there are passages where the strokes are a little too even.
The second painting -- the two trees that appear to be mating -- is the most successful here, I think because the tawny orange-brown plays off well against the energetic streaks of purple.
The third one down is the least successful. I've been trying to figure out why. I like the basic idea -- those bright cherry blossoms being blown off on a windy day with a dark sky in the background. Maybe the sky should by greyer and more roiling; I'm not sure that the blue works. And I'd like to see the ground toned down as well. The grass beneath the trees may need both more shadow and more energy in the brushwork, a greater sense of unease and chaos.
(Now I want to paint my own version. But I have so much to do today!)
I'd also like to know how you approached these works.
On the occasions when I've had the chance to study Van Gogh "in the paint," I've paid special attention to underpainting, if any. He often worked directly over the canvas, but there were times when he would lay out an area with a thin layer of solid color before going over the area with his characteristic thick brush marks. Sometimes the underlying color was contrasting. I recall one painting in which the sky was a dappled light blue over what appeared to be a Naples Yellow. By keeping the values similar and the temperature distant, he achieved a wonderful sense of vibration. (That may not be the right word. I doubt that the right word has been invented.)