Solidity and sensuality of form are the hallmarks of the newest painting, "Two." I am allowing the other principles of painting to take a back seat, and enjoying every minute of it!. Mostly this means I am not involved in strenuous investigations into color and composition, as I take a simple look at the two figures and their deeply emotional response to one another. Yes, deeply emotional. This means I am trying to be both subtle and direct. I feel it is inappropriate of me to write about emotional aspects of my painting. It is up to the viewer to see, and to understand, a painting's emotional content, based upon his or her life experiences. I am not the only painter to feel this way. There is an article in the the February 2011 issue of "Smithsonian" magazine on Wayne Thiebaud. In the article a friend of Thiebaud's says, "I think there's a dark side to his work. But he won't talk about emotion in his work." I will show a painting by Thiebaud after I show my work from yesterday. Thiebaud's landscapes and cityscapes are his best, but he is better known for his still life paintings of food (mostly pastries) and every day objects. I'll show a cityscape.
The paintings of Wayne Thiebaud are currently on exhibition at the Crocker Art Museum in Sacramento, California. In the Smithsonian article it tells of another aspect of Thiebaud, which reminds me of something I did; I left New York City to develop my own art. This, from the Smithsonian article about Wayne Thiebaud:
"In the 1950s, Thiebaud, like many young artists, went to New York City. He...frequented the Cedar Tavern in Greenwich Village, where he became friendly with such artists as Franz Kline and Willem de Kooning. But he was turned off, he one said, by the 'churchy feeling of a lot of New York painting,' with all its elaborate theories and air of reverence."
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