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Dear Subscribers,
New still life. As mentioned in last newsletter
, I was in process on
a painting that was on the razor's edge of working or not. In fact, the
day after sending that newsletter I was about to call it quits and move
on. I had been going for a certain concept and it didn't work. After
calming down I was able to analyze the painting to try and identify what
exactly wasn't working. After all, painting is problem-solving. A series
of decisions and corrections and adjustments. And it worked out.
The
setup
The setup
How not to
start
How not to start
How not to start, Part
2
How not to start, Part 2
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My intent was to make the red very focal, particularly on the vessel.
Thus the complimentary environment color. The vertical red cloth was to
be counterbalanced by the mass of shadow and vertical cloth forms on the
right side.
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My intent here was to create a "lens flare" effect to draw extra focus
to the primary highlight. While pleased with the flare itself, at this
point I felt the painting as a whole was not working at all. This is
where I almost called it off, even though significant time and energy
had already been invested. I realized that the reason it didn't work was
that the focal red was much too large and heavy in proportion to the
size of the entire canvas. Paradoxically, the larger my area of red, the
less special it became. I talked about this exact issue in the article I
wrote for Artists On Art magazine
and in Episode 3 of
Impasto Logs
.
The turning
point
The turning point
After dramatically reducing the area of red, it all came together. It
literally came into focus. You'll see below that a reference to this
epiphany made itself into the title. Basically smooth sailing from here
on out. Just a matter of refinement. The refining stage was significant
but enjoyable.
The final
approach
The final approach
I pushed as far as I could. As long as an artist is committed to being
totally present with each final touch, making sure that each adjustment
is an improvement, I think it is very difficult to "overwork" a
painting. What happens (for me at least) is an eventual arrival to the
point of diminishing returns. When time spent is disproportionately
large in relation to the amount of significant improvement. That is the
time to stop painting.
And the finished painting, "Witness to Red Left Unseen" (16x20):
Witness to Red Left Unseen
like, tweet, pin, and view large image here
This is an example of a painting that gave me the most challenge (grief)
but with which I am the most pleased. Another example of this phenomena
was "Backed Into A Damn Corner"
, a painting I am still
excited about. I feel that these recent examples represent my highest
artistic achievement. Judging by the response to "Witness" (it sold
within 60 minutes of being posted on my Facebook page), maybe some of
you agree.
_____
Less than one month to go.
My most unreal paintings.
May 17th
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is coming.
_____
PURCELLVILLE WORKSHOP
Purcellville Virginia! Only ONE spot remains.
Register for June 1-3 workshop
Description and Supply List
_____
SCHULER WORKSHOP
Legendary.
Legendary.
JUST ADDED! While I'm out east, I get to return to my beloved alma
mater, the amazing Schuler School of Fine Arts in Baltimore.
May 29-31 (3-day)
Still Life Composition & Painting Workshop
$450
To register: (410) 685-3568 schulerschool@gmail.com
Description and Supply List
_____
JUST SOLD:
Witness to Red Left Unseen
Witness to Red Left Unseen
_____
Thanks for reading. See you in two weeks.
-David
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