Daisy
A few strokes, a quick gesture, and a simple statement of daisiness. This is really a very small canvas of 4 inches square, so it is best filled with bold, limited strokes of color. The attempt forces one to express essence only… a very good discipline in paint.
Open Flower
I found these items left for me in my room when I returned home to our Chardon center. The lotus-like candle holder was a connection with the country from which I had just come; capiz shell is used for windows, lights, and decorations all over the Philippines. It is transparent and opaque at the same time. The small statue of Mary in prayerful receiving gesture and uncomplicated shows her also as an open flower. I was just getting back into painting again, when I reached for this instant still life.
Easter Daffodils
Yes, it is Fall, not Spring, but somewhere daffodils are blooming, yellow trumpets sounding off on life. These were Easter flowers for dining room tables, and they added to the the joyful celebration as all marveled at their hardiness and beauty. Now we are preparing to tuck Resurrection under snow and ice, only to be reminded again that death is merely an illusion.
Madonna of the Streets (Stage 3)
Now emerging out of the paint is the more detailed version of the statue. (Compare to previous two days). At this stage, I am inclined to quit before I finish, so that I do not lose a fresh and loose look to the painting, but always I see more to improve. If I work further on this piece, I might try to finesse the madonna’s white stone eyes, but sometimes it is better to leave well enough alone! The original painting by Feruzzi upon which the statue was modeled, has a homey story behind it. It is said that the artist used an eleven year old girl and her little brother as models, draped in some beautiful cloth to give us the wonderful image. He called it “Madonna of the Streets” because she is walking forward with the child.
Madonna of the Streets (Stage 2)
In the second stage, you can see that I worked on intensifying the darks; later they will accent the statue’s lights. Compare this to yesterday’s post of Stage 1. Though I am working on a mainly monochromatic image, I also worked some beautiful color into the shadows; later, this will add some richness to the painting. You can see that the painting often moves from large to smaller detail, so at this point, I am not concerned with facial features yet. If I can get the shapes of dark and light correct, I will know, for example, where to put an eye, mouth, etc.
