Storm I

The other goal of the day is to figure out where the big “Storm” painting is going. I think I may have worked it out by doing some sketching onto the canvas.

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Here’s what it looked like at the beginning of the day. It’s four feet high by seven feet wide. I didn’t like the falling figure, so she’s half deleted now, but I’m not too thrilled with the crouched woman either, so it needs reworking.

 

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Paul posed for this a long long time ago. He’ll be surprised to see it now. That’s the en grisaille layer. This painting marks the moment at which I switched over to en grisaille technique  from Caravaggio’s method of a first painting in burnt umber (actually I have always preferred Van Dyke Brown, it’s a warmer, richer colour).

  

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I knew I wanted to have a group of figures being blown over, but I don’t want to lose the kneeling figure, so I’ll move her to the left and delete the middle of the three new figures in the air. She’ll be feeling the force of the energy the guy on the left is making, but remain unmoved by it. It’s the male and female duality. The figure beneath it all, falling backwards, is destined to disappear almost completely, although I might use her foot when I move the kneeling woman over.

About pearce

Michael Pearce is an artist, writer, and professor of art. He is the author of "Art in the Age of Emergence."
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