I have been going back and forth, looking at yesterday's post of the painting "Window," and then at the image I post of it today. Some changes I like, some I will miss. Overall it is a better painting today than it was yesterday. That's good. The biggest improvement is on the left. Widening the band of light on the table, and also giving the table more open space in the bottom left, has helped enormously. The woman's body is not as sensual, with some of the subtle curves being replaced with a stretched, and elongated form. Her head has turned, and is smaller, which makes more sense in this composition, but I will miss the more independent woman in the previous version. This woman has not reached fruition.
The two drawings I made yesterday continue my campaign to study subtle human interaction, with its consequent emotions. This campaign will never cease, but my tools available to wage war on this problem have recently been enhanced. This cycle, of acquiring an improved arsenal, and therefore returning to old questions with new attacks, is repetitive, and will also never cease. I continue to be very fond of my recent drawings. The light and forms exhibit a delicacy of expression which has jumped in quality when compared to my work in the not too distant past.
Yesterday I wrote of Frederic Remington, but I showed no image of his work. I will remedy this now by showing you a couple of his pieces below my posts of today. BTW: One of Remington's boasts was, "I really know the horse." This comes across very strongly in the images I show of his. Interesting is the fact that only once is he known to have drawn the female nude, and this caused a scandal, as it was published in a newspaper as criticism of a recent search of a woman by Spanish troops, who were trying to insure their safety from terrorism. Remington incorrectly showed the woman being searched by men, when she was actually discreetly search by a woman.
Here are two images of Frederic Remington's work:
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