Nude and Imagination

I've been reading Matisse on Art -- might as well admit that up front! -- and when looking at the same model, same pose I've had to work on for several sessions thought I'd make a bit of a leap.  First, I never paint only the left side of a pose, although I've painted the right side only plenty of times.  So that was the first thing.  Second, the question of what would be next to/behind the model to support the intensity of the color and the warmth of her body ... I didn't want to paint what was there.  After I painted the model, I turned to look out the studio window (which was shade-down, of course, to provide some privacy for the model) and painted the early spring trees.  The "wall paper," an imagined soft hydrangea blue print, came about because I wanted the texture of the background to support the brush strokes in the model.