Thursday, February 27, 2014
Another 14x18 oil of a scene at Sweet Brook Farm.
Denis Donoghue in his short biography of Emily Dickinson quotes the following: '"All her life," R. P. Blackmur wrote of her, "she was looking for a subject, and the looking was her subject, in life as in poetry."'
Wednesday, February 26, 2014
Wednesday, February 19, 2014
Main Street in Manchester, Vermont looking north in the opposite direction of the painting posted a couple days ago. This one has a counter-balanced composition with repeating triangles. Just chance. 18x24 oil.
Tuesday, February 18, 2014
Sunday, February 16, 2014
Recently, I saw a fine exhibition of three-dimensional collages, which the brochure called "relief-like paintings," by Joseph Montgomery at MASS MOCA, the Museum of Contemporary Art in North Adams, MA. They are colorful and painterly, but what else caught my attention is that Montgomery titles them "Image One Hundred Fifty-Seven" and "Image Ninety-Six" etc. So now I am up to Ogunquit 25, 26 and 27, so I have a way to go, and it's been done before. The above are 9x12 oils based upon the pastel versions.
Saturday, February 15, 2014
Finally, this 18x24 oil is a view of Main Street, Manchester, Vermont, near where "Up for Breakfast" is located. It's not Brooklyn, but still wonderfully 'urban'. Also I was struck by how the shadow on the roof was a reverse of the mountain shape in the background. But that's just the beginning...
Next, a while back I started a series called Night Drawings, which was supposed to consist of my older drawings done at night, that I was reframing, and using the occasion to photograph them. I have started doing the reframing again, but not all the drawings were "night" drawings. These are two done during the day, sometime during the mid 1980's.
Friday, February 14, 2014
Thursday, February 13, 2014
The top 9x12 pastel was done on Pastelmat paper, while the bottom 9x12 is Canson Mi-Teintes Touch. I'm still letting the paper lead, though I did a pastel wash underpainting, which might be more of a leader.
Wednesday, February 12, 2014
Monday, February 10, 2014
Sunday, February 9, 2014
Saturday, February 8, 2014
Another 8x10 pastel seascape.
In his short biography of Corot Jean Leymarie writes about Corot's great oil sketch of the Bridge of Narni, "The turbid river flows between rugged banks, dappled with vivid greens and yellows, then suddenly turns blue in the shadows cast by the arches. By bringing into the foreground a plane remote from the beholder Corot transposes the factual data of reality into the domain of art in this consummate evocation of the life of Nature, her nearby tumult and her ultimate serenity, and the never ending dialogue of light and shade." I was struck by the phrase about transposing "factual data of reality in the domain of art..." It sums up the mystery of painting, while still keeping it a mystery.
Thursday, February 6, 2014
While working on this one, I realized that nobody (the parkers) paid attention to the hydrant. Maybe it was defunct, since it had an open valve. It's a 12x12 oil, and the view is located on St. John's Place near Washington Avenue.