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by beetree on 29 January 2017 - 22:01
Fine art is always about emotion or even, its denial.

by Chaz Reinhold on 29 January 2017 - 22:01
Well, here you go, Bee. My son felt left out and wanted to paint. I did another one with him.
by beetree on 29 January 2017 - 23:01
There are moments of a natural sophistication and also tell tale executions of a naive hand. All in all, it is intriquing as a successful painting. I will get to my impressions of this guitar player's story in my next post.
Coming soon.

by susie on 30 January 2017 - 18:01

by Chaz Reinhold on 31 January 2017 - 03:01
You're too late, Bee. Now you have another to critique! Lol. I'm done for a while!!!! Back to the guitar.
Susie, are you suggesting I cut something else off? Fingers would help.
by beetree on 31 January 2017 - 18:01
I will continue with my critique of your second painting in this trypych series, which obviously, it is now one! LOL Concerning the subject and what I feel for a story:
The subject, a male guitar player is absorbed with his playing or perhaps, finessing his chords. He sits on a recessed cement stoop, with his back to the closed black door of a brick building. The building is most likely his home. The window to the left is also blackened, and closed.
The bricks of the walls creates a pattern, but while in the first painting the pattern evoked feelings of domesticity, this brick pattern does the opposite. We are shut out and separated from the idea of home as our refuge, it has become an intolerable place. The figure seeks relief outside, on the stoop. Both the door and window are a solid forbidding black, we can't see in because of what was happy in the home, is not there. It is oppressive to be there where the loss is noticed the most.
We don't see his face because he isn't concerned with seeking an audience. He is only absorbed in finding the music, the music is the metaphor of that which is missing from inside the home.
The perspective being shown is deliberate and confident for the most part. It is only when you get to the outer sides, and the sidewalk does it get skewed. That lack of perfection however, doesn't bother me as much as it might others, because I can tell where your originality is genuine and unique, because of it.
That you attempt a figure and keep the form in proportion, and use shadows and draping of the clothes to give his form three dimensional space is to be commended for the ambition it shows. The minor flaws of techniques or drawing are overcome by the compositon, the subject and apparent confidence growing in its execution.
;))))

by susie on 31 January 2017 - 21:01
I simply assumed you know van Gogh, otherwise you wouldn´t talk about "cutting off ears", and show pictures of sunflowers - and I assumed you know he died too young, a genius, but caught in his fears.
"Cutting his ear off" didn´t help him in his fight against his personal demons ( and the Absinth ).

by Chaz Reinhold on 01 February 2017 - 00:02
Bee, 👍.
The funny thing, is that I didn't want to say anything until you commented. I originally wanted to make the building grey, dark and cold. But I couldn't. I'm working with a cheap walmart kit of paints and brushes. My daughter and i used up all the white and yellow on Friday. Saturday, when we went to but my son a canvas, i bought what I thought was white and yellow. The white was actually a gloss. That also could explain the concrete. I honestly didn't know it was paint until yesterday. I just thought it sucked!!!!!
You talk about minor flaws. Sometimes they're not. There is a glaring flaw in the middle of the lake, but it isn't a flaw. the whole lake itself is a flaw, but it isn't.

by Chaz Reinhold on 01 February 2017 - 00:02
by beetree on 01 February 2017 - 01:02
Real quick, though, your instincts are spot on! Picasso said something like, "...if I run out of blue paint, then I will use red! ". One of my favorite quotes. You just said the same thing, in your way! 👍🏻
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