Kelly painted still lifes only rarely and mostly for his own pleasure. He was brilliantly adept at this: in this virtuoso performance Kelly has built the composition from the bottom up, first painting the green foreground, which acts as a foil for three weightless fallen petals. The background, in this case unfinished, to dramatic effect, would have been painted in last.
John Napper, Kelly’s studio assistant, recalled: ‘His slow painstaking methods made sure that there was always work in hand in the studio: portraits, landscapes, Burmese dancers, still-lives, started sometimes many years previously, would be got out, washed down, worked on, put away, and so on.’ Napper also bemoaned the fact that Kelly was obsessive about never using the same brush twice without it being cleaned, so that his colours remained jewel-like. This resulted in Napper having to clean as many as 200 brushes a day.