A door in Venice

Alt text: Abstract façade of beige and grey patches with a central red brick band and a tall dark door

Detailed description: A door in Venice

Acrylic paint and markers on canvas, 50 × 40 cm.

The painting is composed of shades of turquoise, grey, beige, red, dark green, and small accents of gold and light blue.

The lower part of the composition is occupied by a broad turquoise area, suggesting water. Irregular, darker, and lighter turquoise rectangles appear across the surface.

Above the water runs a dark horizontal band composed of uneven rectangular shapes in dark green and black tones.

The central part of the composition shows a façade built from layered rectangular patches of beige and grey paint, applied with visible brushstrokes.

Across the middle of the façade, a wide horizontal band of red brick-like rectangles appears, interspersed with small irregular yellow accents.

Near the center of the painting, a tall dark door-shaped object rises vertically from the brick band. The door is framed by pale blue lines and topped with a narrow horizontal element.

Several small rectangular window-like shapes appear in the upper part of the façade, outlined in pale blue and filled with darker tones.

He tore the croissant in two, watching the crumbs fall and the layers stretch. He offered the larger half to the cat and kept the other for himself. The cat leaped from a wobbly, wrought-iron chair onto the table, nearly knocking over the ashtray. She sniffed the croissant, gave him a disapproving look, but accepted the gift — more as a tribute than an act of charity.

Well, it really was his last bit of money, but when has poverty ever made him ignore a cat's hungry eyes? That’s right, never. And so there he is, in an empty café on the square, with no money and almost no memories, but with a good omen — and this omen has a white tail and black spots on a ginger face. Things are looking up.