Since it has been so long since I've worked in oils, I decided to paint this without extra medium. Only turpentine. Turpentine offers a lot of control, slow drying and no yellowing.  I hope the next painting is one using alkyd medium. I would like to experiment adding some oil and balsam until it is paintable for a day and dry on the next.

I had to wipe it clean with turp in a couple of places.
I was too timid in my rag in stage. I should have covered the whole support with one basic monochromatic color of different densities. Just to get all the shapes right.

Here is day one. 
 

Painting a complementary color scheme from nature is easy, it happens all the time. The one I'm painting now is a striking set of complements very big in area. Numbers 15 and 33 on a 36 YMC colorwheel. 
Dioxine Purple and Permanent Green.

The closer the colors are to being primary complements the more powerful the opposition that is produced.  Here is a yellow and blue opposition with the jacaranda blossom, a primary set of color oppositions.

Color excitement is the main thing I look for in my next painting.
All paintings are triadic because all colors come from the primary triad of Yellow, Magenta and Cyan, they devide into the secondary split complements. Complementary color oppositions are found within the triadic scheme of YMC.
Monochromatic painting.
Any painting done on a foggy location would be monochromatic by adding light to all colors. Subtracting light in the evening also makes a more monochromatic bunch of colors.
Here is a monocromatic white on silver that I use when painting in that old style called, Pictura Transluceda.