Painting in the Woods – Day Two

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I thought of Matisse‘s chapel in Nice, France. Chapelle_du_Rosaire_de_Vence .  The two doors carved in wood designed by Matisse for the confessionals are painted a slick white enamel. Colored sunlight makes its way through  through the carved open areas and spills onto the floor.  Inside the little room are stained glass windows coloring the sunlight;  yellow for the sun, green for vegetation and blue for the Riviera sky.

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It looked too much like a stilted wooden butterfly had landed on the painting. I replaced it with the sky shinning through the leaves.

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Setting up for lunch. I invited a friend to join me for lunch in my studio. Bring your own food and chair.

This painting was worked on the rest of the day – more to come.

Painting in the Woods – Day One

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Enveloping, quiet, vivid, comforting, safe

Wow, one bright yellow green leaf !

Gone

Still

Quivering

Momentary

Restful

Light, gentle

Private

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Thoughts on painting in my studio space in the woods.

‘The thingness of the thing.’

1. The feeling tone holds the key to the painting.

2. Content

3. Form, Line, space, color and texture – Do they support the feeling I want?

At the moment of existence, it is what it is.

Feelings ‘predictable. Chances of my feelings at the moment’  Cezanne

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Before I left for an invitational painting workshop in Portland, I cut the canvas for vertical trees, but when I stood in the space in the woods my immediate reaction was this is going to be  a square painting. I went with my first thought.  Square – 4 square canvases, which at the end will work as a set of four. At the end of the day, the painting did not look like how I intended it to be, but it did convey my feeling in this space with the sunlight flickering through the trees.

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#1 acrylic on canvas 32″ x 32″ unfinished

The next morning the painting looked like it had two eyes looking at me so I painted out one of them. Now the painting is split in half. I’ll continue working on it back in the studio at home.

 An exhibition, Richard Diebenkorn: The Berkeley Years, 1953-1966, is at the de Young Museum. It seems that there is always a prominent vertical line in his paintings, even more so than his horizontal lines. I just noticed that my transitions from picture or blog has verticals, not intentional – just think it is interesting.