It is happening, but speedy it is not. The painting "Pulling Onions" has me engaged, with a bit of reluctance. Knowing I can do this makes it important. Today, once again, I will go into the studio and work toward its completion. Perfection is impossible, but improvements are possible. As example, look at the hand that now resides near the center of painting. Yesterday I worried this hand's form should not be altered and only its color should be touched. I liked the way it sat in front of the arm of the bent-over figure, thus pushing one figure in front of the other. Now I have proved this is not necessary. I spent well over an hour playing with this hand, and it is much better. It is like a knot in the middle of the painting, giving the painting a important central compositional focal point. This reminds me of a story I read about a painting by Joseph Mallord William Turner. Turner was famous for never feeling a painting was complete (this is something I share with him). He exhibited a painting, which is reproduced at the end of today's blog. A student, who felt the painting lacked a focal point, and knowing it was to be shown in the exhibit, brought a cut-out of a dog from a magazine. At the exhibit the student pasted the dog on the painting. Turner saw the dog, enjoyed its ability to animate the composition with its contrast in light, form, and focal point, took the cut-out, positioned the dog to his liking, and painted it in (Turner always brought paints to his exhibits for final touch-ups). The dog works wonderfully. I have always loved this painting.
Yesterday's warm-up drawing is a good one, more expressive than many of my recent drawings.
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