I think Senator Vandiver, err Governor Vandiver
needs a back for his chair to make it look even, if it interrupts The Arch. I think so.
Alan Flurry: I think you need something to lean on for sure.
He’s sitting in the chair. See that’s what happens at this stage when I don’t
even have all the underpainting done, like in that section but, but um the painting starts,
every little bit starts talking to you. It says oh, look at that how even though when
I look back to it’s a fold under there. A wrinkle. It’ll work. Actually almost nothing
here, even though some areas look pretty much finished but nothing is not going to be done
over in another pass. Alan Flurry: In another six months. Ah.
No it, sometimes it goes very fast, but then um, not very fast but for the underpainting
I just kind of add a few touches or put a glaze over it just add a few touches and it
works. Other times I have to really rebuild the whole thing using the underpainting. Do
you want to see something that’s going to make that area look better?
Alan Flurry: Yes, absolutely. Okay. That’s what I mean when it starts
talking to you. You not only having, doing to it. Putting stuff down. But it’s but
when its got this far and it says and also it’s, it’s treated unevenly ya know there
are certain areas more developed than other areas so there then what I mean when it starts
talking to you. You probably have that in your writing as what is this passage? Or what
is this, this is all wrong. I need Rotia? Alan Flurry: But you, you it’s talking to
you. You, you find things or it, it tells you what it needs.
Yea, yea. Well. This utilized the underpainting but this needed to be the stronger.
Alan Flurry: So you were saying about things talking to you. And you’re not just talking
about that chair right? No, no a lot of things. But you see like,
that gives him a better chair to sit in. But then I’m going to have to get deep in this
shadow, which I might not do right now. Um but see that warm brown makes sorta makes
the coo- I don’t know if that works but the the uh cooler umbers in that girl’s
face it just gives a contrast. Maybe it’s too much, but that I’ll have to wait and
see. But I like at this stage is that it is turning into a coloristic painting. You know
like a the color becomes one of the key elements that moves your eye and uh, and uh tell a
story. Whereas in the underpainting it was, it was value and uh drawing. And that kind
of goes against modernism because Cezanne said you draw with color, you know you don’t
draw with line and then tone and then apply color. I can see he um, I can see the
logic in that in some kinds of painting. But
if you think of the old Venetians, they used this method where they worked on a red ground
and did uh underpainting or Rembrandt did a painting he call- what- called dead color.
And then started moving grays and blues and you know the night watch was not the night
watch, it was a daytime scene and also when they cleaned it they found it wasn’t all
brown and uh and uh ochre, there were blues and whites and yellows. So, so it’s just
a different procedure and uh and ya know Matisse says you start on a white canvas and you put
red and that talks to the white canvas and he’s painting a wardrobe he said then he
put blue down and that talks to the white and the red and then you put another color
and so the colors building with color from the beginning but that’s not the method
I used here. But that’s okay.