Satisfied enough to call this one finished...and now already looking for my next subject to experiment with. Surprising how painting what appears to be less (after all not finishing the canvas completely right??? ) ... required so much thinking, to marriage that abstract to realism. Had a lot of fun though...enjoyed this one...
Click on image to see larger view...
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5 comments:
Hi Larry,
The underpainting works really well.
Suggestions here and there make the all picture work to the center of interest and it really becomes one of the driving forces of the painting.
Wonderful job!
This is amazing Dad, I think you're raising the bar with this one?
thanks Helder, Jason..
trying to push it...grab the eye where it is essential, and let the areas not essential to hold the composition together be there loosely speaking.
when I do my plein air events, sometimes as many as 150 artists and more are canvasing the area for a week, and in essence about 1200-1500 paintings done over that time. Each may pick two typically to submit.
I'm calculating the risk to be more creative and offer at least one of my entrees to go more this route. Perhaps stand out from the crowd...taking that risk of creative license.
Absolutely love this! Reading your post reminded me of something I read long ago of a watercolourist Julie Rauer and her choice to leave effectively negative space. While what she does is leave space untouched to my eye the effect is similar here in yours and some of the others you mention (too think of Andy Wyeth's w/c's!).
She "avoids the Western compulsion to fill every corner of the page...The result is a more contemplative work..."
While filling or not filling every corner defines contemplation, that is up to the eye/skill of the artist, working in this manner is another invaluable tool in ones box....right next to a good bristle filbert.
working on that...freedom to allow less the power it possesses, thanks
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