When to go vivid (and all that entails) and when to be subtle?

In a painting group one of the other artists had set up this grouping to work on an impressionist piece. I just loved the items, their textures, warm and subtle colors. I asked his permission to take a couple of pictures so I could try it, and it was given.

This is my 8X10 acrylic result. The other artist did some amazing things with brighter colors, more impressionist shapes, and in oils. It was fascinating to see how differently things can be seen.

Next it would be good to explore a somewhat wilder version, more like an art instructor would like. For some reason it's good for me to try realistic first, to get familiar with the shapes, colors and textures, "internalize" them maybe? Whatever, it gets my hands familiar with the shapes, my eyes familiar with the colors etc. Then it seems easier to loosen up and try an impressionist version. Or, then again, maybe I need to fuss over the realistic version until I'm satisfied, or fed up, then my imagination starts really kicking in to liven things up! This second version will be with oils, easier to keep playing with it more.

Here is another project of a completely different kind. This is the unfinished version. It's further along now, the holes have been filled in. Have I said all this before?
Anyway, this is a result of working with the Great Dickens Christmas Fair in San Francisco last December. I went in 1830's dress (women of a certain age are free to wear styles from their youth). During that period the huge mutton leg sleeve was very popular (see the original Dr Doolittle opening scenes with the Dr's sister) and a special cape collar called a pelerine was also very popular. They were often of very fine stuff like lawn or batiste with embroidery, or fine lace. I had made one of some machine made lace that looks really good, but I'd always wanted to try to make a lace one from scratch, since they have a very distinctive shape. I had a bit of a search to come up with a motif that I could adapt to the shape, but the biggest thing turned out to be finding the thread! Who knew how much it would take! I'm using a fine thread (#30) in white, but there are a lot a whites out there. It took the better part of a month to find more of the exact same white. And YES, you can tell if it's not the same white. At last I was able to obtain enough to finish. On the pattern, I'm winging it so right now I'm in the hard part of the decision process, the final shaping and finishing details.
Gotta go, I'm off to my painting group now!