Waiting Too Long, 16 x 16 inches, oil on linen
Goddammmit! I just typed up a long post and before I could save or post it, deleted it by accident! What a drag. Here we go again. but this'll be the short version. I haven't got it in me to type up a long thing again.
This painting was done yesterday, at a figure session. The model was sitting on the stand, in the classroom context, and I just made up the environment as I painted. This is what I call MSU; Making Stuff Up, and it's a really fun way to paint. Obviously, the classroom situation is limited in visual interest, so a typical figure painting in a open session type set up looks like a study, no more, no less. I get tired of doing that though, and I try to imagine the figure in an environment, so that I have some kind of believable context.
I'm not looking to do paintings that I can show and sell, but I do come away with something more interesting to look at. But more than that. The great joy in MSU comes from watching a story develop as you paint the picture. It's like reading a book and you want to turn the pages faster because you want to know what's going to happen. I am the creator of the story, but I have no idea what that story is. It can be very exciting~
As the story develops, so too, does the character of the figure in the picture. I start tweaking the expression, or the gesture, what she's wearing, and the general attitude of the figure starts to change, to mesh better with my story. It is a fascinating process. Essentially, every thing you make up is an exercise in painting from memory, and as Carlson and others point out, painting from memory should be a regular part of every artist's regimen. It really helps with your designing skills even when you are painting from observation.
This painting was done yesterday, at a figure session. The model was sitting on the stand, in the classroom context, and I just made up the environment as I painted. This is what I call MSU; Making Stuff Up, and it's a really fun way to paint. Obviously, the classroom situation is limited in visual interest, so a typical figure painting in a open session type set up looks like a study, no more, no less. I get tired of doing that though, and I try to imagine the figure in an environment, so that I have some kind of believable context.
I'm not looking to do paintings that I can show and sell, but I do come away with something more interesting to look at. But more than that. The great joy in MSU comes from watching a story develop as you paint the picture. It's like reading a book and you want to turn the pages faster because you want to know what's going to happen. I am the creator of the story, but I have no idea what that story is. It can be very exciting~
As the story develops, so too, does the character of the figure in the picture. I start tweaking the expression, or the gesture, what she's wearing, and the general attitude of the figure starts to change, to mesh better with my story. It is a fascinating process. Essentially, every thing you make up is an exercise in painting from memory, and as Carlson and others point out, painting from memory should be a regular part of every artist's regimen. It really helps with your designing skills even when you are painting from observation.
Kinda Fechinesque, no? Probably because I saw that original Fechin drawing last weekend at Quixote winery, Fechin's been on my mind a lot lately. I'm not consciously trying to emulate his style, but I like the loose quality of this painting.
Detail shot of the background. This looks like a complete painting by itself, doesn't it? Sometimes when I crop an existing painting, I discover another composition which surprises me. These found compositions are often developed into finished paintings. They're like Easter eggs! A lot of the times, the found comps are better than the originals. And when I stumble onto a good one, it's like finding the Golden Egg!
12 comments:
Paints like an angel ;swears like a man... Hee hee, nice post.
Hate it when that happens, I had the same thing happen to me the other day as well, accidentally deleted a post.
Very nice painting! Great job making up the background scenery too!
Really beautiful painting. Thanks for the insight into the process.
Great post Terry, so inspiring.
Great painting, Terry!
Me again; the only thing I'd change is the left edge of the diner's chair. I'd 'lose' it or put it behind the model's breast. That's just me on that little vignette.
Glad I'm not the only one who does such things. Now about the painting, I like the MSU attitude that you describe. I should try that someday. I'm going to google Fechin...I would like to learn to paint more loosely. BTW, great painting.
I love the brush work. It reminds me not to fill in everything so solid like a coloring book.
I love the original and that cropped section. I think I like that crop even better...it is so every day, yet it still makes me wonder what is being said, what is being thought...I also wonder what your original figure has going through her head...Lovely work, Terry. I just wanna be you with that ability!
thanks everyone!!
Beautiful strokes and colors, and you MSU is an added bonus!
Thanks Ann!
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