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Friday, December 5, 2014

color or not

 the color and the gesture didn't get along. i've gone through work i've done during the past year and realize that the work i am happiest with has a limited palette and a strong gesture. i'll let up on myself know. the painting can use a bit more warmth. for the moment it has to dry.

detail of the center. there is magic here. the paint brush glides.

best and onward,
deb.

Wednesday, November 26, 2014

Ghosts of Versailles continues


Have been working on this steadily since October 18 or thereabouts. It has been scrubbed down many times to the initial drawing. The sizes kept getting away from me. sometimes i got artsy, and the paint got sloppy and dirty and the medium wasn't right for a while, the paint was curdling. so, that had to be scraped down. Sizes feel right. still working out the gestures and twists. the feet look clumsy here, the painting looks more solid. there are some color changes that aren't showing up in this. will clean the brushes and give it one more go.

I never expected this baby would take this long to deliver. every day i wondered if this will be the day that it all comes together. it's not something that can be foretold. 

best and onward,
deb.


Tuesday, November 11, 2014

Another Ghost of Versailles


still working on the Ghosts of Versailles.  This is a 20x20"  oil on canvas that I banged out late yesterday afternoon.  now, back to the other painting.  It just isn't coming together in a way that feels right.  This other painting gave me some clues.  Will see how it goes today.  changed up the palette with addition of alizarin and phthalo green to give some punch to the values.

best, and onwards,
deb.

Sunday, November 9, 2014

Signed/unsigned


i signed it today then crossed it out  there is a freshness to the drawing that appeals to me.  i will turn it to the wall and let it it dry for a few days.  there is a fresh canvas that is triple primed with a burnt sienna imprimatura ready to go.  will put it on the easel and move onto the next one of the ghosts of versailles.  i think this painting feels very french.  what do you think?

best and onwards, 
deb

Friday, November 7, 2014

Ghosts of Versailles, continues


I've moved some stuff around, enlarged a few shapes.  got the big brush out yesterday.  today i am glazing with raw sienna.  oil on canvas 24x24"

So what have you been painting lately?  having any more luck than i am?

best and onwards,
deb.

Monday, October 27, 2014

Ghost of Versailles re-grouping

Added a new few new colors to the palette:  manganese blue ad citron yellow.  The manganese blue is not a true manganese, which darkens to green, it is a pthalo blue mixed to the hue of manganese.  good in tints.  the citron yellow is a chrome or zinc yellow, not sure.  used to brighten ochre. raw umber:  a very dark yellow, burnt umber is the darkest yellow.  burnt sienna, the darkest orange, grumbacher red, a true red, neither blue, nor orange in tint or mixture. titanium white. french ultramarine dark.  i can bust out a lot of color with these babies.




This morning the grid was returned to, re-sized the masses, eliminated some stuff, beefed up the whites. This is the oddest painting I have ever worked on.  Still trying to live up to my potential.  

best, and onwards,
deb

Sunday, October 26, 2014

Ghost of Versailles..and Benjamin Franklin's balloon.

Yesterday Nova featured the making of Ben Franklin's balloon at Versaille.  Part of the program was about the colors that the were used to create King Louis' gold on a blue background.  There were very strict recipes.  The blue was a cobalt base, the golds were shades of ochre.  Very good...it confirmed my instincts about painting that gold tone.

This morning I've started introducing the deepest ochres.



My right hand likes to go fast with the brush.  The canvas is only 24x24" and I don't want sloppy drippy stuff going on all over the place.  It is very challenging for me as the right hand has an innate knowledge, and I keep saying, not yet, we'll save the best for last.

Below are various details of the painting, any of which, could stand alone as a painting. Sometimes I fall in love small sections of a painting and decide to rework an entire painting around that one small section.  Instead of starting another painting, or derailing the work in progress, the prints of these details get re-worked into monotypes.






best, and onward
deb.

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