After completing #854 Venetian Mist, I was curious how many versions of this view I painted over the last few years and what lining them up in chronological order might reveal....a critique? That could be interesting..... but perhaps shouldn't.
Painters can be annoyingly hard judges of their own work....me, I look for weak spots but it never occurs to me to beat myself up over it, get depressed or throw things. Depending where I'm at with a painting, I work until it feels right or if nonredeemable move on, adding it to my experience list. Because the trick here is being able to recognize a miss step in the first place.....easy to criticize it but more interesting to sort it out. So no painting is without some merit because painting, at least for me, is an evolution of emerging ideas....well earned triumphs and continually raising that proverbial quality bar....."warning", breathing can be challenging in higher altitudes.....sometimes it's hard to see the path for the clouds, but apparently there's no end to the damn thing anyway....so no point worrying about it too much other than marching forward.
I'm always awe struck at what some varnished paint on a linen canvas can produce by a good painter. I relish good paint quality, touching it like one might a fine finish on a wonderfully designed piece of furniture. I think a natural reaction is wanting to touch a beautiful surface.....I'm told a serious no, no in a museum...I white knuckle my hands behind my back....it works. Except when I come across something like a small Van Dyck painting below.
Boy, did I get off track...nature of the beast. Back to it.....now the guy above is on a whole different level and makes me wonder if I'm making progress or treading water until the grim reaper shows his ugly face.
As of a few days ago canvas #854 was the 7th version painted of Grand Canal from the Rialto Bridge location since 2010.....a few for sure, but not a great number.....after seven I should know what I like about this view over others, or at least why I keep making a run at it. One reason I know...the sun sets in the right spot.
Painters can be annoyingly hard judges of their own work....me, I look for weak spots but it never occurs to me to beat myself up over it, get depressed or throw things. Depending where I'm at with a painting, I work until it feels right or if nonredeemable move on, adding it to my experience list. Because the trick here is being able to recognize a miss step in the first place.....easy to criticize it but more interesting to sort it out. So no painting is without some merit because painting, at least for me, is an evolution of emerging ideas....well earned triumphs and continually raising that proverbial quality bar....."warning", breathing can be challenging in higher altitudes.....sometimes it's hard to see the path for the clouds, but apparently there's no end to the damn thing anyway....so no point worrying about it too much other than marching forward.
I'm always awe struck at what some varnished paint on a linen canvas can produce by a good painter. I relish good paint quality, touching it like one might a fine finish on a wonderfully designed piece of furniture. I think a natural reaction is wanting to touch a beautiful surface.....I'm told a serious no, no in a museum...I white knuckle my hands behind my back....it works. Except when I come across something like a small Van Dyck painting below.
My most favorite portrait in the National Collection
Portrait of Cornelis van der Geestabout 1620,
My favorite detail (below) was the liquid luminosity of his right eye......really well established throughout the whole painting. Shown better in the link above than my image here.
As of a few days ago canvas #854 was the 7th version painted of Grand Canal from the Rialto Bridge location since 2010.....a few for sure, but not a great number.....after seven I should know what I like about this view over others, or at least why I keep making a run at it. One reason I know...the sun sets in the right spot.
1st Version
#228 Venice study 8x10 oil on canvas panel (1-19-10)
2nd version
(PRIVATE COLLECTION)
(PRIVATE COLLECTION)
#248 Venice Sun 8x10 oil on canvas panel (1-30-10)
View from under the bridge - warm up study - actual morning sunrise used as reference
View from under the bridge - warm up study - actual morning sunrise used as reference
3rd Version
#350 Venice Gold 20x16 oil on linen panel (7-4-10)
4th Version
(PRIVATE COLLECTION)
(PRIVATE COLLECTION)
.jpg)
#365 Venice Sun 20x24 oil on linen panel (8-10-10)
2nd version was used as my reference
2nd version was used as my reference
5th Version
(PRIVATE COLLECTION)
(PRIVATE COLLECTION)
#798 Venice - Venetian Gold 8x10 Oil on linen (3-5-13)
One of (6) consecutive Venetian 8x10 studies for a gallery (link)
One of (6) consecutive Venetian 8x10 studies for a gallery (link)
6th Version
#821 Grand Canal Transit oil on linen 40x44 Oil on linen (6-9-13)
One of (6) consecutive 40x44 experimental atmospheric paintings - several different subjects (link)
One of (6) consecutive 40x44 experimental atmospheric paintings - several different subjects (link)
7th Version
a.jpg)
#854 Venetian Mist 36x36 oil on linen (9-5-13)
There was a large time gap with this view until I revisited it a while back. I was doing a 8x10 Venice barrage for a gallery. Since I'm essentially a large format painter - small critters like these are few and far between. The galleries and my collectors like Venice. My 8x10s make good colour notes...sometimes a good composition emerges, even a good painting (galleries liking the latter) but I need elbow room to really get into it. It's clear here, I decided to take the view large after the 8x10 run.
I had what I wanted very early in the game with versions 2, 3 and 4 but mini works in comparison to where I am now. Taking a subject larger is another matter altogether, and in my limited experience, not always successful. I'm a formal subject painter as opposed to the casual ones we might do En plein air. So it takes some work upping the scale, to figure it out and keep paint quality in place. I need to know clearly what I intend so natural breaking points can be established and fit in my time slots. I always allow (7) full days for all my larger paintings - TOTAL FOCUS is my key and staying away from the "8th day".....that's the kiss of death. By that time boredom sets in, my thinking drifts, I get sloppy and crap! The painting gets cluttered and over cooked!
8th Version
#855 Venetian sunset 30x30 oil on linen (9-19-13)
Each of these paintings has something I can draw off of going forward, which is really all I needed. I've developed a better understanding for my subject....hopefully I wont over think it while painting. My natural rhythm will be more deliberate and confident. Now that I've talked myself into it, it seems like a good time to mess with that elusive bar raising thing.
I have a few 40x44 stretched canvases ready to go; a size I like very much...almost a square. Works well horizontally or vertically. Plus a bonus, it fits into my SUV with a 5" frame!
Later.....
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