S_V_H Vivaldi – L’Estro Armonico, Op. 3, Concerto No. 2, Larghetto image5

A work of art based on the music of Vivaldi, 3 panel 24 inches by 11 feet.  Listening to
Vivaldi’s  Lute (Chamber) Concerto, For Lute (Or Guitar), 2 Violins & Continuo In D Major, Rv 93: III. Allegro. Classical music has long titles, but the best in its day may have had shorten names or maybe even nicknames: thinking the common name for Bagatelle No. 25 in A Minor (WoO 59 and Bia 515) for solo piano, Beethoven’s Fur Elise. There is so much to learn that is going to require more time then this artist can spend.

Progress note: Painted in the base color for all of the note shafts.  The dark blue is Prussian.  The shafts of the single notes are a tinted Turquois.  The inner shafts of the beamed notes are a Cobalt blue.  It is important, since a note head is never attached to the stem that they have a shade or tint of the note color to connect the two. Although, this music is soft in sound, it is the thinking that all of these stems should be painted with enough contrast to vibrate the flow across the canvas.

Listening to Beethoven’s  Piano Sonata No. 1 In F Minor, Op. 2/1: I. Allegro on Pandora. Na, this one will probable never be painted.

Strange is the effect of an art review article in the New York Times about Frans Hals at the Metropolitan.  This artist has seen a number of Frans Hals works and has always been impressed by his free use of the brush and the wonderful results he gets: there is lessons to be learned.  After reading that review last night,  using a filbert brush, and a nice blue, down the length of a couple of the Prussian shafts, back-en-forth the paint flowed.  No, it certainly was not a Frans Hal sleeve.  That was never the intention. It just seemed for no apparent reason to livened up that dark blue. Frans Hal had a reason for his brush work, no matter how freely it appears to have been applied. But when it comes to this art,  there is this lingering, guilty thought  that the artist must stay true to the music and not drift towards pretty colors and shapes that are just decorative. The problem with that thinking is that there is the real world of painting a representation of a a piece of clothing,  and this art that is attempting to paint the emotional and the physical flow music altogether on canvas.

Now, listening to Christina Aquilera in iTunes.

Look at Matisse and how decorative he was, thinking Harmony in Red.  Then there is Van Gogh and his stabbing brush work. Vincent took the real appearance of  the sky,  trees, and ground and created a difference visual perception in his short, sharp stabs of paint that is quite understandable today, unlike in his own time.  Since what they both do is art, then understandably, they free this artist to do any painterly interpretation of musical art that is wished. Wow, that a break through.  Your kidding me it took you that long to figure out the obvious?  This art is based only on one demand that each of these artworks only depict the realistic flow of one piece of music.  That is it, and anything beyond that added to the canvas is there to enhance the emotional impact of the flow.  It is simple, and this artist knows what he is doing, and how important it is sometimes to write down and discuss his thoughts.  This blog, at times, can help to clear the mind.   It is just believing that is the hard part.  Believing hard, and then harder, is what will make the dream real.

That is it, listening to Natalie Merchant and Wonder.

Ending this blog entry with John Lee Hooker and The King of the World.

Scott Von Holzen