S_V_H Vivaldi’s Autumn allegro 3rd mvt. image3

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Vivaldi’s Autumn Allegro Mvt 3  third image. I am back to complete the 10th painting in the Four Seasons series. I must say I am tiring of this project, but of course, that changes nothing.  The need to meet the demands of each Vivaldi, plus my acknowledgement that each of these artworks must breath and grow through its entire life from planning,  construction, to completion,  no matter my emotional state, this is my job to complete. Thirteen artworks will make up The Four Seasons, and each new work begins where the last left off.  It is that simple.  It is a commitment.

On the left side of this work you are seeing the beginning of the extensive tapping, so that I can paint in a had edge on each of my stems. I forgot to photograph this artwork before I started the taping, and in a way I should have, but this blog is more a documentation tool, then a getting-out-the-message tool, so years from now I can look back, and see my style changes.

Looking back at my stem history, I can see that I shifted to the hard edge near the end of 2010.  In fact I see it on a painting that I have not looked at for a while, Every Time you Say Goodbye.  Before that I use to free draw the stems and  at times they looked good. The reason I moved away from the soft look,  was I wanted the stems to stand out more. In that way they became more apart of the flow of the music.  When painted in the stems, they really help my round head notes, by accentuating that part of the music. The stems are almost a counter to the notes, because they are vertical which depicts the flow as sharp points, that like the note heads, move up and down with the flow of the music.

My goal is to get this work done no later than January 19th.  The reason is I want to start the big one, which is Winter Allegro the first movement of the Four Seasons Winter Concerto. It was this music that began my passion for Vivaldi. Today, I have well over 19,000 pieces of music in my iTunes music library, but only two songs have a five start rating and Vivaldi’s Winter Allegro was the first.

Scott Von Holzen

S_V_H Up On the Roof Final image

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Up On The Roof is signed and ready to go on sale.  You can buy this artwork HERE, or a print HERE. This artwork uses a technique where I have lighten my musical notes as they flow across the canvases from left to right. The whole idea of this work was for the viewer to see a change in mood in the work, from gloomy to hopeful.  From the first canvas I then pushed the next three out from each other to bring the final canvas work closer to the viewer and to the brighter mood of this last panel. This work has been a challenge, that has taken to long to complete.  I wanted to finish this work in two to three weeks.  Instead it has taken eight weeks. Of course there was the big interruption with the Christmas artwork, but this only confirms my difficultly in working on two works at once and finishing each of them in a reasonable amount of time.

The struggle continues:

I have looking for a new home for Blue Rondo, so I stopped by the Jefferson Street Inn, and strange, Tim the head maintenance man and a friend,  mentioned two other options. One was over the main entrance door and the other space was over the elevator door. Just the sight of those two suggested locations sent dread through me, as memories of walking with the Professor into the orchestra room caved in on me.

The dream lives:

This art will find it’s way, which includes Blue Rondo, with or without me. Of course I would like to be a participant in bringing these artworks to the surface, before I drown in neglect, but there are no guarantees, only choices.  And those choices I have no other option but to choose: the art leads, if I want to be an artist.

Scott Von Holzen

S_V_H You Raise Me Up final image

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You Raise me up 99 inches of all Christmas.  What is not to like about Christmas and Christmas Artwork. You see those two candy canes in the above image?  In the world of music they would be 16th notes, like these:

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In pointing this out I hope you can see that the real music is only a starting point, and that the artwork opens up into many different directions. I could not have it any other way, for copying sheet music to canvases would be boring, and meaningless.  It is how I see that music and how I depict that flow of the sound that is important, and what my objects, can and do not represent, has not substance, except in my mind. This has all to do in understanding the difference between art and wall decoration.  A Jackson Pollack painted by Jackson Pollack is art, but a Jackson Pollack painted by your local zoo animal is not. And a simple answer to the why of this is, because when a zoo animal paints an abstraction there is no subconscious attention to detail.  What separates art from imitation, is the artist grasping what cannot be held and knowing exactly how to use it to free the artwork from being absorbed by the wall.

This artwork is the largest Christmas work that I have done. Starting this series in 2006 with a single two feet by four canvases, we have now arrived at six panels and almost 100 inches in length. This painting grew so large because I needed to use two sentences from the music, “I am strong when I am on your shoulders.  You raise me up to more than I can be.”  It was obvious that the strongest words are “I am strong.” and “I can be,” and worked in perfectly to start and end the work. They also best describe my favorite Uncle who ill. Still this work could have easily been over ten feet if my flow notes would have been my normal 70 to 80 millimeters wide. In order to shrink this music, to a size that would fit my timeline, I dropped their size to 55 millimeters with 5 mil between. It is still big, but done.  My art is all big. I believe that is an issue, for most collectors do not have large empty walls, or they would not want one art piece dominating, like all these artworks would certainly do.  It is a concern for me.

Remember back to that uncomfortable situation I walked into at the U W of Madison Marathon campus, while walking with my music Professor down the hallways of the music department. He told me several times the different possibilities for hanging Blue Rondo that would not worked because the artwork did not fit. Then he walked me into the orchestra room and I thought here was a big space. That quickly turned to disappointment when he again began eliminating walls, until the only place left was ten feet up, above the windows. Well, after of months of waiting for him to call and tell me that the wall hangers for the painting are ready, I have changed my mind.  I am taking Blue Rondo back, and I will have a new construction for them.

BlueRondo

What I plan on doing is to paint another Dave Brubeck masterpiece, Take five.  Take Five is one of my penny paintings I did when first starting out.  This new version will consist of five panels and with a length of 60 inches, by no more than 24 inches in height. I will let the professor know, of my change of thought, when finished. Blue Rondo hopefully can be sold for $1600.00. The other option, for now, would be to hang Blue Rondo behind the front desk at the Jefferson Street Inn, downtown.

Scott Von Holzen