Another little study (also on hot press, as was yesterday's): I was trying to concentrate on showing the shapes, rather than the details within them, to delineate the scene. I see the perspective of the path is off: if you're doing shapes, get them right!
I see I've done it again, what every art teacher I've ever had says is a no-no: divided the page exactly in half. I do it all the time, without realizing it.Well, perhaps it's just an outgrowth of some aspect of my being: balance, not dynamism; calm, not tension.
Today I'm going to fill my two new palettes: I'm doing a four-day workshop in Rehobeth, DE, with Ken Hosmer, and should start getting my kit together.
Actually what I should do is stay home and work, but my friend Shelby, exuberant plein air painter and generous host, is letting me stay at her house, so how can I pass it up?
I'm thinking of devoting one of Thumbox palettes (I bought two, of course) to "my" palette, colors I would normally choose, and the other to Jim Kosvanec's "essential" palette, which is not what I would choose--for one, he has four greens (out of fourteen colors!) and no purples or violet: no cobalt violet--a color I've come to feel I can't do without. (His "optional" colors, for an expanded palette of 21 colors, does included cobalt violet and ultramarine violet.) Might be a total disaster; might be a great shake-up!
Here's one of the first poems I memorized (the others were Shelley's "Ozymandias" and Keats's "On First Looking into Chapman's Homer"). I wish I had the time, and the brain cells, to memorize poems again--what a worthwhile thing to do!
Hopkins's poems are just a pleasure to say, to pronounce the words, a characteristic shared, I think, by the poems of Wallace Stevens.
Spring and Fall: To a young child
|by Gerard Manley Hopkins|
Margaret, are you grieving