egg tempera
20 x 30
Most of my work is pretty approachable. The subject matter is right there and it really doesn't require a whole lot of thought. But maybe if you were to take the time to give the piece some consideration, maybe, just maybe there really is something more there. This painting is different. It's not a particularly pretty picture. It wasn't meant to be. It was meant to be looked at and thought about. Maybe there is something worth looking at.
I remember having this in a show once upon a time. Most people glanced at it and walked on. A few people said it reminded them that they still had to rake the leaves, but there was one woman who seemed to get it. She stood there for the longest time, just staring. I found that extremely satisfying. She has no idea how close I came to taking it off the wall and giving it to her.
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7 comments:
i came upon your blog from a list of artists working in silverpoint. incredible work here, i love all of it.
this one in particular has a sort of undercurrent that really does it for me.
Thanks so much, I'm really glad you like the work, especially this tempera.
Be sure to check back sometime. A new camera is coming soon so new images shouldn't be far behind. Lot's of silver.
i really love the way you've let the process of egg tempera and the layering inform this piece... the way the way the leaves emerge and float on top. People often say it's impossible to do an original work these days.. that it's all been done before, but I like that your voice is also emerging in this piece...
Thank you for answering on the ET forum today... your drafting skills are strong, so either you have a very natural gift, or you did get something out of the book (either way I take it as encouragement once it's in my budget.)
all the best, jp.
Hi jp, thanks for dropping by. Glad you like the piece. I've often wondered if I've ever had or will have an original idea. I'll just have to make to with what I have.
I looked in at the space above the couch, very nice. You've got some skills of your own. After looking at it, I'm not so sure you'd get that much out of Barque. I don't know how far back you got here, but there's a post in May '07 (I think) that talks about cast drawing and Barque, Might be of interest. At the same time as I got the book, I bought a set of proportional dividers for taking measurements. I think that may have helped me more than the book and it only cost 1/4 as much.
thanks for the links and great advice.. the modernist and the realist are at odds to be sure. made my way to rationalpainting.org yesterday, and trying to wrap my head around munsell colour theory... still finding my way. bargue didn't hurt
Van Gogh at any rate :) so I only have something to gain... will soon find out how much. all the best, jp.
I am reminded of a quote from a researcher who had been studying where it is that artists come from .{ crazy woman }. She came up with this definition . " An artist is someone who sees beauty where noone else even looks " Dave this is one such work . Personally I am like that woman at your show . I could sit and meditate this work for hours . The first glimpse gives me a feeling of peace . let alone the technical difficulty in doing it . Love it . I am also reminded of what a Zen Buddhist monk said once on the subject of beauty . " Remember , one can only see beauty if beauty is already in the heart " keep showing us the beautyin your heart , Dave
I'm not quite sure how to respond. That's such a nice comment. I'll tell you a short story about doing it. At the time I was working on a drafting table and the lighting wasn't the best depending on the time of day. I'd put the shadow on the ice at the top of the painting a day or two earlier and forgotten I'd done it. I spent about ten minutes moving the piece around trying to find a place that had an even light on it. I just couldn't figure out where that shadow was coming from. Tempera has it's share of shortcomings, but nothing puts the air in shadows like it. Thanks so much for the comment.
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