I have been trying to talk myself into the belief that Untitled Diptych-04·15·2014 is complete. But every time I touch the painting, it gets better. Yesterday I learned something important. I worked on the hands of the man in the right panel. I was startled by the importance of these hands, not just because of the emotional expression they add to the figure, but also compositionally. The fingers on his right hand (on viewer's left) act as a small plane which helps the viewer fall into the composition using its third-dimensional aspect. I am bolstered by this success. That right man's hands are not complete, but I will wait a day or two for the oil to dry before completing them. Today I will work on the woman's feet in the left panel. Tomorrow I will report to you my perception of this seemingly minor change. I thought the man's hands I changed yesterday to be a minor alteration. Perhaps defining the the woman's feet will be just as important as the man's hands. I really would like to move onto the next painting, but the knowledge I am absorbing as I continue to work on Untitled Diptych-04·15·2014 is just too important. What I learn now will stay with me forever.
I wrote in yesterday's post that I am accepting my total fascination with the surfaces of three-dimensional forms. You can see this in yesterday's drawing. Yesterday I reproduced a Lucian Freud etching in order to exhibit a common thread between him and I. Today I show you an early Matisse, where he, in his imitable way, plays with the color and light on the three-dimensional surface of the face and upper torso of a woman.
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