This drawing is more "head-on" than I have been making recently. Even my last few paintings read more like landscapes, or room-scapes, then facades. This reminds me of Claude Monet's artistic development (see three examples below). Early in Monet's career he was very interested in the third-dimension of the landscape, as in "The Road from Chailly to Fontainebleau" (1864). By mid-creed Monet was making facade-like paintings, as in "Rouen Cathedral" (1882). Monet concluded his career making absolute facades, as in his many paintings of "Water Lilies" (1919).
I am thinking about facades versus 3D-scapes because I am trying to work through this inherent conflict in picture-making. Yesterday's drawing is more a facade than the drawings from the previous day. I mentioned Monet development, but the "Father of Modern Art", Paul Cezanne, instinctively understood painting as facade. Even his earliest work screams with "I am flat" (after Monet's work, see Paul Cezanne's "Orchard in Pontoise" from 1877, Cezanne died in 1906). To conclude, the flat plane forces an artist to deal with a picture's ultimate insistence on two-dimensional composition. I am working out this dichotomy within my artistic nature. I definitely have a problem to solve, given my propensity for manufacturing the third-dimension while scratching and feeling the surfaces of rendered forms.
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