Yesterday was a good day in the studio. I took a step forward. I went into the painting "Young Man" and let my intuition tell me where I should focus my energy. It was definitely not on the apple, and very much on the person. The apple is gone. The design of the painting, outside of the human figure, is now simple support to the figure. In other words, my interest in this "Young Man" is dominated by his emotional output. The rest of the composition subsidizes his human presence. Go back to my post of 11/14/2010 and take a look at the painting by Modigliani. Open a book on the work of Modigliani. Modigliani never painted an apple. Why tell you this? It is reassuring to me to realize an entire oeuvre of excellent painting can stand on one theme. I am not definitively stating my direction. I am saying it is apparent that substantive art need not have a wide range of thematic interests. I affirm the banal, since Cezanne made great paintings with just apples and a table top, and de Kooning make great paintings where the theme is light, color, and paint without recognizable forms. So why do I worry? My need to consider every aspect of my art requires me to ponder every element I paint or do not paint. I am in an effort to strip away my enormous knowledge of historical paintings and find the ingredients which are important to me.
Now to the two drawings made yesterday: It is obvious from the previous paragraph that I am desperately seeking content which drives me to paint. Obvious, as well, I will not become an abstract painter. The human form and physiognomy interests me enormously. Most of my recent drawings are in pursuit of subject matter and the way to describe it with artistic and emotional impact.
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