Chopin’s Nocturne OP.9 No.1 image 11

All of the first layer of notes are down across this 12 foot work. What is shown is a close up of section 2 and 3, about 3 feet or so of canvas.

When I was painting in the bass notes in white I thought of the painting by Gustave Caillebotte, Paris Street, Rainy Day at the Art Institute in Chicago.  I have not seen this work in person for many years now but it is still one of my favorite paintings.   It is special because it reminds me that it could just as well be a photograph.  I see the photography in the way the painting crops the figures,  its causal feel, and the balance by the overall careful cropping, of the whole work.  When I see that I see two art forms coming together: painting and photography.

Now, back to this Chopin stuff. This is the first work were  major components of the bass clef section of the music have been cropped, some completely, from the canvas.  It may seem trivial to the casual viewer, but it shows the evolution of this art form, which  opens possibilities to other ideas, allowing more freedom to say why not what is there to lose.

Scot Von Holzen