This finishes the second canvas in this thirteen part series the painting of Vivaldi’s The Four Seasons. This canvas is just over 120 inches(3meters) in length with a maximum height of 26.5 inches. This painting was finished last evening but over an hour was spent today for touch-up. The goal is never to perfect the paint. It has been only to give a good first impression of a quality technical effort. Perfecting my painter skills will never be goal. If it was then I could have painted this work on a computer, which would have fail miserably. From a viewing distance these lines looks perfect, but it is the moving in and seeing all of their imperfections that gives the artwork a personal depth. That is the IT of art. That is especially important if all of those tens a thousands of brush strokes have been applied by a single hand.
Listening to B.B King – Paying the Cost to Be the Boss
Simon & Garfunkel – The Dangling Conversation
Blues Is the Road – Sonwy White and the White Flames
The Bee Gees – You Should Be Dancing
Some final thoughts on this artwork: it has been a surprise to see how well this canvas turned out. Understand, this music on its own, would never have been a choice for this artist to spend over a month to complete. Of course checking the play count Vivaldi’s Spring Largo has been played well over 60 times which did help to sink it in, and with familiarity comes understanding and appreciation.
The Verve Pipe – The Freshmen
The different colors for my notes work well even though the bright colors are only on the outside. The thought was to have them represent a variety of spring flowers. Painting the insides with more common varieties of greens, slows the movement down and locks them in with the background. The words speak about a pastoral of spring flowers.
The swirling light violet lines above the music are quite different from my ties in the previous canvas. They pop quite well out from with the stripped blue shaded rectangles. This style will carry over, as a rejection of Summers Alegro Non Molto ties that now seems used up. The other ties that are darker in violet without the added contrasting background look good, and let those more important ties, that are the heart of this music have the importance they deserve.
The far right with the vertical blue stripping, and my two half notes which with that stripping, are there to slow down the works final movement.
Above is a personal depiction of what is called a trill that is heard in this work. That small addition took more time then expected to create. The drawing with the use of heavy paint, and complementary colors reinforce the feel of this musical ornament.
The signature is more modest on this canvas, and yet enough to help balance the side..
Bach: Concerto for 4 Harpsichords in A Minor, BWV 1065 -Mvt 1 A favorite that will be painted.
Tori Amos – Little earthquakes
Bob Seger – Night Moves revives ones youth.
Van Morrison – Domino
Next up is the challenge, a real challenge, the second part of the Autumn concerto, Adagio Molto, which means very slow. Yes this music is slow and not that interesting. This is the third in Vivaldi’s Four Seasons, and also the third middle movement. There is a reason. This series is a growing and learning process, and these smaller, less riskier parts of this great music give this artist the opportunity to stretch out, trying different techniques, and ideas that will evolve this style. There is still a lot of discovery yet to come.
Art is about the Art of.
Scott Von Holzen