Saturday, March 8, 2014
A more severe coast scene, 9x12 oil on mdf panel.
From an essay by Sarah Whitfield on Bonnard, "In a conversation Bonnard had towards the end of his life with some friends who were visiting him at Le Cannet, one of them quoted Balzac: 'A curse on the man who keeps silent in the middle of the desert, believing that there is no one to listen to him.' Bonnard, asking him to repeat his sentence, paused for a long time before replying, 'Speaking, when you have something to say, is like looking. But who looks? If people could see, and see properly, and see whole, they would all be painters. And it's because people have no idea how to look that they hardly ever understand.'"
Friday, March 7, 2014
Thursday, March 6, 2014
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.