In yesterday's blog I mentioned that a major change would be coming to the legs of the standing man in the painting "Pulling Onions." It happened. And it works, despite my intuitive reluctance. This is me educating myself. The incongruity between the open-palm hand of the bent-over man, and the feet of the standing man, has been solved. More than that, the composition easily accepts the increased verticality of the standing man, and the standing man's legs are now substantial enough to support his large torso. All of this makes sense. I ask myself, "Why did I wait so long?" I was busy solving other problems. This process of making "Pulling Onions" is an exhibit of the systematic solving of the myriad of problems which a painting presents. It is not a straight line toward solution, but two steps forward, one back, as I have previously written.
Yesterday's drawing was a simple toss-off, a warm-up. Upon completion it promptly hit my "archive" file. This drawing will not be exhibited in my lifetime.
After yesterday's work I show you the final version of the painting "Pond." You will notice I have accepted incomplete details in this painting. I feel a bit like the young Picasso in doing so. The expression of "Pond" is complete. I needed to move on to other paintings so I stopped working on it. You will the same minor "incomplete details" in Picasso's famous painting from 1905, "The Family of Saltimbanques," which I show after my work. "Pond" goes on exhibit today at "Long River Studios" in Lyme, New Hampshire."
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