This happily, is the completed image of Vivaldi’s Concerto No. 2 in G minor, Op. 8, RV 315, “L’estate” (Summer) 2nd movement, adagio. With a name like that no wonder it took over a five weeks to paint. This painting consists of five canvases ranging in size from 36 inches by five feet, to as small as five by five inches. This length of this artwork is 12 feet(3.66m) with a greatest height of 41 inches(1.04m).
Listening to Eddit Boyd – I’m a Fool
Count Basie – JJJump
With the artwork, The Pretender, the idea of mounting canvases in various arrangements is dramatically displayed. To revisit The Pretender check the March 2012 blog entries. Especially by stacking canvases these artwork have taken on a sculptural appearance. This work is using stacking on a two dimension plan, which lacks the visual punch of three dimensions. Looking ahead I would like to find in the music a phrase to mapped tightly to one or two connected panels. This would then push the rest of the music to spill over the canvas. By letting the music flow I will then follow it with add-on canvases, which would allow more options for two-dimensional, and especially three-dimensional additions.
As I have probably mentioned in the past, a long-standing rule had been that I must make the music fit the canvas that was available. Obviously, I could custom build a single canvas to fit, but that would be time-consuming, difficult to transfer, and of course expensive. I am 50% Swiss, so I am always aware of how difficult it is to earn money, and how easy it is to spend it. The realization that I can add canvas to an artwork, when needed, has now eliminated the music must fit the canvas issue. This not only opened up a massive amount of opportunities but gave me the excuse I need to drop that silly rule. The Music Rules.
Johann Sebastian Bach – Sonata in G major BWV 1021 adagio
Don Henley – The Heart of the Matter (Live)
Listening to Elton John – Levon
Vivaldi – Opus 3 no2 in G minor – L’estro Armonico. Magnificent.
Tori Amos – Silent all these Years (live)
Final thoughts: this was a challenging painting. Just moving it around has been a problem. A concern with this work, was to somehow make its physically awkward appearance balance. The little add-on canvas helps this. The emphasis put on that single high note also helps. The strong white line along the bottom of the right side strengthens that panel, especially when it cuts over the top of the beginning bass notes. Finally, the overall business of the left side works to keep this work level, for the most part,considering how soft in color the left side is in comparison to the exuberant reds and oranges on the right.
The most interesting new technique used on this work was the way that the thunder part of this music rolls and twists, and how the beams of those notes distort the background. This creates an interesting effect and reinforces the message of the music.
To sum up the painting progress, of Vivaldi’s Fours Seasons Series, here are the other three works that completed so far:
The first painting is Summer – Molto nonmolto
Next work painted is the Spring – largo
This third painting, my favorite, is Autumn – adagio molto.
One reason that I am mentioning the summing up this effort so far, is that eventually there will be the need to find a place to display this Series of thirteen paintings. Galleries or museums plan exhibitions years ahead. At this point I believe I have enough completed works to begin the promotional push to search for a host or two. This is not an easy task. There is much doubt, but what choice is there, if obscurity is not an option.
Listening to Julie London – Ev’ry Time We Say Goodbye, along with the older Sarah Vaughan and her wonderful Body and Soul
The Temptations – The Way You do the Things you do.
Mario Winans – I Don’t wanna Know
Cream – Politician
Counter to the video I have not painted the middle movement, Largo, from Winter. The reasons why is that it is too early in the year for a Winter painting. So for now, it just seemed like the right spot to stop and move on to the 1st and 3rd movements of the first three seasons. These movements are where the energy and the major interest is. They are the parts most people have heard. The first and third movements artworks from this series will be the quality benchmarks. The thinking is that the prepping and practicing is over. The toughest challenges are ahead along with greater possible awards. I am upping the ante.
It has always been important to present on this blog and my website the best photography of this art. It has become difficult later because of their large sizes and with the attaching of other canvases. For example today I spent two hours plus retaking the photograph of this painting for my website. I first tried to photograph this artwork inside the studio, with artificial and fill flash lighting. All that time was to no avail for I could not get a glare free image, no matter how I managed the lighting, except by resorting to an extreme positioning of this large bulky artwork. I than took it outside, and photographed it in mere minutes. Although it was completely cloudy my Canon 7D handled that light, as it should, and I could not asked for a better photograph: evenly lit and free of glare. Obviously I need a studio with a large North or eastern light source. Until that day arrives, I guess the best use of my time photographing these artworks will be best spent outside. Winter will be the challenge.
Scott Von Holzen
aRT iN mUSIC 