Friday, January 08, 2010
Anatomy of a painting 4
Right about now I realize a few things. The primary one being - why does this painting have almost NO COLOR in it? Where is that brilliant blue day I loved? And how can I get it on my canvas NOW? So I start in, and all of a sudden it seems as if there is some real air around the island, and something watery happening in the ocean.
I also realize that I've been working and concentrating for a long time and I really need a snack and a bathroom. Quickly. But the painting comes first, so I get some color in there and then stop for a bit to get my bearings and regroup.
Did I say the painting is five feet high? About 60" x 20". That's big, for me.
I'm trying not to look at it too much, until I get some more paint on there. All that gray still showing is still bare gesso.
And I'm thinking that I'd better do something pretty damn quick to make myself fall in love with this painting. So I can sustain the momentum to finish it. I always do this - one major lesson I've learned as a painter is that you can't be afraid of making something ugly - just block it out and lay it in, then work on color and light and, if you want, beauty.