Progress report: the crisis

It is very very rare when you paint a la prima (see? almost all painting terms are italian…), d’un seul jet (or French) a painting… Usually, it takes 3 seances or more to finish it. And there is almost always a moment when your painting goes to hell, when you think “Man! I spoiled it! Damn!”

That means you arrived at the crisis moment… Sometimes, you never get out of it, you have really spoiled your thing and there is nothing else to do but to start again… Here I am, in a crisis (see the reproduction). But I still have some ideas and I still have hope… For instance, I think I’ll paint a lizard, somewhere, on the couch… And, of course, the skin will not keep that greeny color… It`s just a phase… I won`t keep the “moustache” either… It’s already been done and I don’t want to make a comic Mona Lisa. but I still search for a more mysterious smile…


8 responses to “Progress report: the crisis

  1. Hang in there, Danu! One of the wonderful qualities of oil painting is that you can keep changing almost endlessly, no? I guess that can also be a curse. When you reach a point in a watercolor painting where you have to change it, often you can’t, so you have to tear it up and start over. For me, that has sometimes been a blessing in disguise!

    But oil allows you the ability to move gracefully past the crisis point, which I’m sure you’ll do.

  2. I’m rarely discouraged on a precise painting, bob, but thanks… Usually, my depression is more of a difuse and unprecise nature (with life in general, maybe)…

    Anyway, acrylics allows you even more crises managements than oils (and this is – I should have said it – an acrylic painting). since I got here in Quebec, Canada, more than 10 years now, I’ve painted almost exclusively in acrylics which seems to fit me fine… Glacis and vellaturas sont not only possible but are even more flexible and succesfull than with oil… Since they dry quickly and let you work layers after layers of painting in one day… True, watercolor (especially because of the peculiar nature of the watercolor paper) is different. But you can always cover it with a gesso and use it for acrylics! Too damn expensive to tear it up!

  3. You have a cosmic Mona Lisa here. Somehow the green flesh has a certain appeal.

  4. What about the moustache, bill? what about the moustache? (I thought that is a nice touch…)

  5. That blue robe is very nice, and the purple chair too. The green of your Mona Lisa reminds me of that undercoating the early Renaissance painters used to start their figures with–remember?

  6. Nice work. I like the idea of a lizard..maybe the lizard would be nice on her shoulder…this would add a nice surreal element to the piece.

    I have always found that the difficult moments produce the best parts of a piece. Trust in the process..all will come out fine.

  7. Yes, steve, giving her something more than simply concentional beauty will be the ideea. Thanks.

    By the way I’ve seen your last post works in progress and they seem pretty impressive. I’m working with acrylic inks for a few years now so if you think I can be of any help, just ask (I’m not the expert here, just that I work a lot with them and, maybe, I could avoid you some loosing time… But them, loosing time experimenting is not loosing time at all…)

    and I also like a lot Alan Watts… this chapter about the Zen in art (in his book introducing us to Zen Bouddhism) is still a great read and full of possibilities…

  8. Well danu, I might shock you now, but:
    I am normally not a green addict, neither on flesh nor on grass or trees, but here, I simply find the colour genial, really! It simply goes wonderfully with the colours of the sofa and the dress.
    And you won;t believe it , but I love too what you call her moustache, She simply looks like as if she had kissed a lot right now, and has her lipstick all over. I am really not kidding here, Danu. The contrast between these remains of wild kisses with the innocent expression in her eyes is simply great, quite sexy I find!

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