I am seeing the benefits of this practice in my plein air regularly but in a different way then you might think. Instead of seeing problems before they happen I think I am noticing them quicker as they are arising and starting fresh on a new piece, with the composition change on the front of my mind. The 30x40 "Fishermans Memorial" from a couple posts ago is an example of this practice that I am particularly proud of. I would love to hear your thoughts. Is this something you practice or would consider trying? Thanks for stopping by. Dan
Quote "It's all in how you arrange the thing... the careful balance of the design is the motion." (Andrew Wyeth)
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Several times I've used a smallish outdoor painting as the basis for a much larger studio painting, usually because I am so taken with the composition in the smaller version that I want to be able to recreate it so I feel like I can walk right into the bigger canvas, so to speak. Thus a 20" x 16" becomes a 60" x 40". The other reason I've tried again with a second version of a painting is if the first version really fell flat and I felt there was something there I hadn't gotten right, a missed opportunity to say what I was trying to say about that place or moment. Take two...
Thanks for the input. I do think it is a shame to not fully explore a piece and see what can simplified or developed further.
60x40! whoa! go get em!
Looked back at some of your earlier boat pics and interesting to note the subtle shift there has been in terms of accurate brush work, more diverse tonal shifts and an increased feel of someone comfortable and confident in their practice. Your thoughtful application of your artistic vision gives great pleasure to the viewer.
Hi Dan,
It has been forever since my last visit to your blog and it's good to be back.
This topic, of living with a painting and then revisiting it with a larger studio piece is in the forefront of my mind right now. I read an interview with Gruppe who relayed something that Carlson said about the real masterpieces being created in the studio taking what we need from the on location sketches.
The immediate reaction to this piece is that the compositon is studied and brought into a full idea. The large round boueys are great, and it might be challenging for one to develope that "on the fly". Of course it is very difficult to do what you are doing here in terms of brushwork etc when going from a smaller piece to larger. Like what was one stroke in the original now must be defined as several. It's not easy stuff, but we all obviously benefit from constant work in the studio as well as the field. You are not one to shy away from hard work and that's why your work is so good!
Kyle
sorry for the delay in response I have been pretty busy getting ready for the Creative Convergence trip in P town. I am there now.
hi Mick, thank you, i try not to think too much. That's not any fun. :)
Hey Kyle, good to have you back! I think that letting a piece marinate can help bring out the best in it and hopefully help me make better choices out in the field.
These are great colors! I love the fresh look you captured. First time, second time. Who cares. Its the final product that counts. I think you hit a winner.
Tha you very much Susan!
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