There are plenty of breaks to take when painting in the style of the fifteenth century masters. Shaking off the impatience of modern life, when speed is attractive to everybody and a snail's pace is intolerable, makes breaks an important part of the old world painting process. Since I did Morris, (the Maestro) last winter/spring and started Waiting At The Gate this fall, I've used breaks to mess around as I pleased with the paints in an effort to paint quick and loose and keep impatience at bay. Sitting in the only soft seat in the studio, I painted whatever was in front of me--the studio, the paint table--still lifes that started off still, but as time passed, became full of (nervous) energy-- and a series
My impatience found its way out in my sketchpad too:
With my impatience spent messing around, the slow sessions with Waiting At The Gate have become a relief.
|.The Studio, monochrome, oil impasto, 6" x 8"|
|The Paint Table, oil, 8" x 6"|
|.The Paint Table, monochromatic, oil impasto, 8" x 6"|
|.The Paint Table, oils,8" x 6"|
|The Paint Table, oils, 8: x 6"|
|The Paint Table, oils, 8" x 6"|
The Paint Table, oil impasto, 8: x 6"
.Clowning Around, graphite pencils, 6" x 8". My granddaughter and her boyfriend
never read about the evil clowns terrorizing neighborhoods when they chose their costumes
Waiting At The Gate underpainting in progress, This week's concentration was on the woman two on the right
and the connective area between the two women.
.Detail of woman on the right. How dark or light to make the background is still
up in the air. To make that decision, I need to do the foreground, the darkest area in the painting.