Big Stretch

We’ve stretched the canvas over the panel ready for the Priestess, now we need to give it a few coats of gesso before the drawing begins. Ally has drawings of the dress made and Veronica has been measured for the fit, so as soon as it’s stitched and the hat made we’ll be ready to go. Meanwhile, I’ve found one of my male students who’s prepared to be the model for the Hanged Man, so I want to get the rig for the gravity boots set up so we can shoot reference pictures as soon as possible.

On the left of the photo you can catch a glimpse of a painting I’m doing for my mother of her brother (my Uncle Harry) and his wife (my Aunt Betty). It couldn’t be better timing for a little painting like this, right in between projects. I’ve done the first rough layer of Harry’s face en grisaille over a rich Burnt Sienna ground that will warm up the flesh nicely.

In the middle of the photo there’s a glimpse of a lovely blue that I painted as the sky for a small Temperance. I don’t remember why I stopped work on it, perhaps I was just distracted from it, but I think I should do a little more to it and complete it. The bars behind it in the stack against the wall are the stretchers for the Amelia Beheads the Alchemical King painting in which she’s reaching for the ball of light, which also needs little work to be complete.

About pearce

Michael Pearce is an artist, writer, and professor of art. He is the author of "Art in the Age of Emergence."
This entry was posted in Amelia Earhart, Hanged Man, Making work, Priestess, The Cardinal Virtues. Bookmark the permalink.

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