Wednesday, September 27, 2006

Monday class, Ocean City. I did these two studies prior to class, trying to paint the objects and their shadows at the same time and allowing the colors to mingle. In class, I got started on the study below ... more of the same, but this time with a Battenburg lace runner suggested and loaned to my by one of my classmates, JoEllen. Another benefit to painting with a class!
Posted by Picasa In my Tuesday class, I spent the day setting up a still life and drawing it on a full sheet; next week I'll start painting it. In a boost to my setup-making confidence, Lois, the classmate who I mentioned is the best ever at setups, said she'd like to paint my setup when I'm done! I was stunned ... that is progress!
Jennifer, another Tuesday classmate, has arranged for our class to have an exhibit. It should be an impressive display as these painters are very good ... They'll all be contributing still lifes, and I'm sure I haven't anything that can compete with their work, so I was thinking of sneaking a seascape in there to make it stand out--and so there'll be no comparisons made!


robin said...

I love this discussion! I never thought before about the subject, or composition of the subject being a reflection of painterly competence. I'm much more of a literalist, see the subject, shoot the subject, frame the subject. I guess that mind set stems from being less serious about my artistic ventures and more oriented toward photography. Out of a handful of shots of the subject from various angles, one will end up with the subject captive- although getting that jaw dropping moment of perfect expression remains elusive in this approach. What you've described in this post tells me there's way more consideration needed to inform the eye.

robin said...
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laura said...

everything is selection; selection is everything.
even in your photographs you're not consciously talking your way through it, but you're editing ... is it even possible to take anything (everything) as it presents itself? (there's too much to even perceive it all) already in framing it in the lens, you've selected ...
how philosophical sounding! :-)
For me, for now, selection is the hardest part; and I haven't even yet refined the process--there's so much more to choose to include or exclude, emphasize or downplay, than my painting ability allows. Though I really think the idea, the goal has to be to attempt more than your ability allows! Yes, that's the hardest part!