Sometimes it's good to start a painting with a colour that is deliberately 'wrong', in the sense that it doesn't match 'reality'. Think of the evocative gold backgrounds in icons or Japanese screens, or the mysterious black backgrounds in European Portrait painting. This forces you to think of the painting as a self-sufficient design with it's own internal laws, not as a slavish reproduction of nature.
Corfu - was it Venetian, British, Greek or something else?
44 minutes ago