I have tried to be influenced by some of Bonnard's garden paintings when he was at Le Cannet near Cannes when painting our back garden (plus dog). I have picked up on some of his Mediterranean colours and managed to limit my normal use of burnt umber etc. It was a struggle to get anything much of his style into my painting but perhaps it has resulted in a slightly looser painting style.
I do think your palette is considerably more Med than usual so it must be down Bonnard's influence and staying away from the umber. As a plant nerd I love that you can actually identify every plant from your sensitive observation and representation of colour, form and texture. The stone of the wall is also a sheer pleasure to look at, as is your contented faithful furry friend.
The lawn is a tricky area as it is quite big and formless expanse compared with the interest in the rest of the piece. I appreciate what you have done to mitigate this with the addition of different shades of green, blue and yellow and the broken brush marks -which are smart solutions. But I wonder if the lightest pale green lines are too light and too long -almost as if they were on the surface of water? It may help to just work on this area a little further. If you were working from a photo check the value (relative lightness) and saturation (intensity of colour) of the lawn compared with the other greens of the plants. You want to draw attention away from it (because it naturally grabs it with its position and size -but doesn't give back like the flower beds!) by toning it down whilst not loosing its sense of warmth and light.
Hope that makes sense -sorry its rather long winded.
Below is Klimt's solution to the same issue.
I wasn't quite sure how to resolve the lawn issue and in the end I went over it with a layer of very thinned out paint and rubbed it off again in places.
