S_V_H Vivaldi’s “The Four Seasons – Summer-adagio” image3

Vivaldi twelve feet in length.  The first photo taken with two White Lighting flashes, using white shoot through umbrellas bounced off the studio ceiling. No matter how I worked the image in Photoshop the orange, used in the above upper images, appears red in color.  It is difficult to duplicate the shades of acrylic paint, and  frustrating  with the amount of time lost, trying to fix the image.  A good likeness for the Cloud that compares well with the artwork will always be a challenge.

The next move was to take the painting outside, and place it in the shade. Looking at this second image there is a difference: the orange is actually orange.  Although both of these images where shot RAW and adjusted, there is something about that huge natural light source that has its advantages.

This video certainly is interesting, in its imperfections, and spontaneity.  The canon 7D  made this video in one take.  Can you tell.  There is only one way to go from here and I really do hope you check back whether you “appreciate” the effort or not.

Listening to Smokin’ Joe Kubek – I Saw It Coming

This is certainly an odd-shaped painting.  Notice that little 4 by 4inch canvas on the left top that depicts that one high note.  Here is another video for this music. The painting comes into play at about 1:25 seconds into the music, and is the third rumble.

The Birthday painting on this last Tuesday, and the continuing business at work, did drained me throughout the rest of the week.  I will get back on track slowly on Monday, and gain momentum on this fourth in a series of Vivaldi’s The Four Seasons,  as the week progresses.  That is usually how it works.

Some Final Thoughts on the Birthday painting:
The painting will be strung and taken to work for display.  Not much will come of that, but at less an artwork moves out the door. I do not see the Birthday painting as that creative of a piece. The thought was that since everything goes so much faster, on that one day,  that the opportunity to get crazy with new ideas, would just happen.  It did not happen.  Instead this years Birthday painting turned out as a continuation of last years Van Gogh Birthday painting. It is what it is.

Check on my website for new pricing of the on-line artworks.

Listening to Delbert McClinton – I’ve Got Dreams To Remember

Watt Ever – Phil Keaggy

Chic – Le Freak

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons – Summer-adagio” image2

Vivaldi’s The Four Seasons – Summer adagio. This artwork is 12 feet(3.66m) in length by 36 inches(.91m) in height.  It is awkward to handle which I learned when I tried to remove this artwork from the easels and it swung up and hit the ceiling. The work consists of four canvases, so far, with the largest being  three by 5 feet. The words chosen come from the Vivaldi sonnets of which this is one translation from Wikisource:

” The fear of lightning and fierce thunder
Robs his tired limbs of rest
As gnats and flies buzz furiously around.”

Of course, this artwork is going to concentrate on the “lighting” and “thunder” parts of this poem. There might be a splash of “gnats” here and there, but that part of the sonnet does not inspire me.

Listening to:
Just in Time – Sonny Rollins
For You Blue – The Beatles
South City Midnight Lady – The Doobie Brothers

Here is the  link to the music, from an earlier blog entry.  On the left side of the full image you see and can feel the soft, reflective, sad, soothing  music. Then as the canvas expands, to the right, the thunder makes its appearance.  The artwork , starts just before the third rumble. Those light blue horizontal lines represent lighting. This is not a complicated piece of music and that may well be reflected in the end appearance and the shorten time needed to complete this artwork. Ahead there will be some interesting work done with the thunder and the overhead beams that are only now a drawing.  Already,  updates have added depth and an interest to those soft green circle notes.

THE  2012 BIRTHDAY PAINTING TO BE COMPLETED, ALL IN ONE DAY, ON JULY 31ST THIS COMING TUESDAY: This  Blog Link details how you can name a piece of music that you would like to see painted on that day.  If your choice wins, you then will received a signed, large-scale photograph, as a thank you.  I need more musical choices to choose from, get involved.

Here are the latest suggestions, with comments:

Simon and Garfunkel – I am a rock OR The Boxer
Beatles – let it be
Rod Stewart – Forever young
The White Stripes – Jolene (Dolly’s rendition was familiar to me growing up; but I like the edge in the White Stripes version

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons – Summer-adagio” image1

Vivaldi’s The Four Seasons four Canvas, 12 feet(3.66m)in length by 36 inches(.91m).  This is a snap shot, of the early background.  Next up will be to draw in the music to see how it lays across the canvas. Once the draft of the music is laid out then it will be back to the background.

The grey colored area, on the left side of this image, is not canvas. What you are looking at is the first odd shape work, that  could be called a combine.  To explain how this art got to this point you have to look back to 2005.  From one canvas to another,  it was felt back then, that it was necessary that the musical phrase  fit the selected canvas support.  Of course that was restrictive, which eventually lead from works that were on a two foot by four canvases to larger signal sizes and then to works on two same size canvases bolted together in 2009.

It was in earlier 2012, with the Mozart work Serenade No.13, that this artist realized that this thinking was backwards: the art needed  to accommodate the music.  That is why you see, in the image above, that extra 12-inch panel on the far left, and the 12-inch panel in the lower middle.  Those two small pieces will allowed  the bass sound a stronger visual on the right side. There are style changes in the sharpening of the effort to  not  blend the canvas parts together, and with the use of two different size canvases, that are awkward to handle, that compose the background.

One thing that has matured with this art, over the years, is the approach to depicting music. If you look at general sheet music, it is rigid in structured and this set the standard for much of my earlier works.  But that got boring, and once the technical confidence grew, so did the ideas to better paint the flow of music without turning it into a typical wall hanging.  This art is not your generic abstract  music painting, splashed in complementary colors, you see everywhere. This art has grown and so have I while staying true to the idea that started it all.

Listening to:   The Thrill is Gone – B.B King,  Hallelujah – K.D Lang,   The Bee Gees – Stayin’ Alive,  She Talks to Angels – The Black Crowes, Peal Jam – Come Back.  George Carlin – Capital Punishment

The following is a video of this music:

UPDATE on the Birthday Painting Suggestions that have come in.  Here is the list so far:

Unchained Melody – The Righteous Brothers.

Your Are so Beautiful – Joe Cocker

Roses are Red  –  Bobby Vinton

I Will Always Love You – Whitney Houston

House of the Rising Sun – The Animals

Blame it on the Rain –  Milli Vanilli

Vincent – Don McLean

What’s Going on – Marvin Gaye

Changes – Tupac  Shakur

The Sky is Crying – Stevie Ray Vaughan

 It is your turn  to add to this list. Here is the link for the details, detailing the Birthday music painting.  On my Birthday, July 31st I will start,  and complete this work.

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Autumn)adagio molto Final image

Vivaldi’s The Four Seasons – Autumn – 2nd  movement.  This artwork is composed of five canvas panels with a total length of 120inches by 40.75 inches, maximum height.  This work was started on May 28th and now 47 days later it is finished. The guesstimate is a minimum of 3 hours a day was spent working with this artwork.  This means about 130 hours to complete.  The amount of time an artist puts into a work is not a prerequisite for value or quality, but it is good information to have when planning.

Listening to One Night in Bangkok

Melissa Ferrick – Don’t Say Goodbye

Bruce Springsteen – Streets of Philadelphia

Etta James – At Last

If I look at this painting objectively, there is not much in art history that looks  similar to this, or that approaches the way this art depicts music.   That does not mean it is any good, but there is a feeling, that this new Vivaldi work is continuing the push of this art in an interesting direction.

What then was accomplished with this artwork? We can start with those interestingly portrayed musical ties that are crazy good in this work.  This is an image of your standard sheet music musical Tie:

Now, here is this artist take on a musical tie from this painting:

There is no comparison, one image is of standard musical notation, and the other has nothing to do with music and is a creation from imagination. Simply put, one can be played, while the other can be either appreciated or dismissed.

This artist take, on Vivaldi’s musical notes, took on the look of  individual planets (not intentionally) each with their own little moon (dotted half-note) that floats across the canvas.  Here is musical notation version of a dotted half-note:

 This is this artist take on a dotted half-note:

Throughout this work every object that floats over the background has been treated as an individual item which gets some of its inspiration from the musical manuscripts of Mozart at the British Library.   

The way musical notation is jotted down is as individual as the musician.  Those varied pencil marks can then produce an infinite number of options when played.  So, it is in looking at music and with the understanding of this endless variety that is music, that has been a part of what has allowed this art to quickly improve and transform.

Tiny Dancer – Elton John –  from the album Madman Across the Water

Listening to Will Smith – Wild Wild West

Billy Eckstine – Misty

Suicide Blonde – INXS

One  technical issue that had been a concern of  this artist, was to not to create an abstract musical artwork that could be dismissed as decorative:  partially defined as a painted work on canvas that has the right colors to match the furniture, and is the right size to full the space on the wall. When the thought is about decorative painting Henri  Matisse comes to mind, and what was learned from his art that actually changed this art over the years. It is in this gowning process, and the better understanding of the great variety that is music, that allowed this art to be depicted however it was wished, and that any concerns with  decoration was nonsense.  The varied use of color and shapes are needed to enhance the feel and mood of the music. Since music is usually listen to, and since these paintings have no sound, this art needed to create visually images to arouse the music inside of the viewer. Plus in practical terms it would have been boring painting standard music notation, which would have killed this art.  Thank you Matisse. Matisse is also on that short history list of influential artists starting with Vincent Van Gogh,  Rembrandt van Rijn,  Henri Matisse, Pablo Picasso, Mark Rothko, Jackson Pollock, and J.M.W Turner.

Sting – Stolen Car (Take Me Dancing)

Janis Joplin – Try

Bowling for Soup – 1985

This artist believes that this work’s style certainly pushes forward. But  its limited use of add on canvases can be seen as an unavoidable short coming of this artwork. Otherwise, the best of this art is in the style and coloration of all those half-notes, those magnificent ties, the words that are large and look great reflecting the mood of the painting in their color, and the use and variety of colors in the background.

There are now ten more works of Vivaldi’s The Four Seasons, yet to paint, with the next one beginning tomorrow, delayed because of the multiple hours required to write this one blog entry.

Listening to Take Five – Dave Brubeck

Vivaldi – The Four Seasons – Winter – 1st movement the artist favorite.

Michael Jackson – Blood on the Dance Floor

Keb’ Mo’  – Soon as I get Paid

This now brings me to this years Birthday painting that everyone, that reads this blog, will have an opportunity to receive a sign photograph of that work, t0 be painted from beginning to finish, all in one day, July 31st. I will be posting another blog entry with the details.

Ending this blog entry with The Killers – All these Things that I’ve Done

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Autumn)adagio molto image6

Vivaldi’s The Four Seasons – Autumn Second movement, 3 meters in length by 1 meter.  Yes, this artwork looks messy.  That will all be refined in the next couple of weeks.

Listening to Coldplay live – In My Place

Stevie Ray Vaughan – Voodoo Child

This artwork depicts the flow of this music’s ending.  The video below is not a great version of this music, but it demonstrates the expansive flex that allows music to be preformed and still be recognized, even when everyone is playing the same notes.  Taking that thought further that is why there is so much variety being put into this and the other artworks. Great music allows itself to be stretched in every direction, which brings out the creative sparks  in every performer.

The Chordettes – Mr. Sandman

Carrie Underwood – Before He Cheats

Pink – Misery

Also, I get bored using the same identical techniques in a work.  Of course repeating a style, lets say from one half note to the next, gives an artwork a smoother flow and comfortable feeling of consistency, and has it need and place.  But again, it becomes tiresome, and maybe disappointing at times, and that is when those little tweaks appear all over the canvas.  Call it this artist take on music in Cubism.  The large extent of styling in this work is because this canvas is uniquely describing three different instruments:  the top flow line  is the Principle Violin, while the second is the Primary Violin, and the third is the Cello. The desire then to give each instrument its own look, which leads to different ways of applying paint.

The words are Italian from the original Four Seasons sonnets, with a basic translation of “The mild air is pleasant.” This part of the sonnet is about the coming of the night.

Patty Griffin – Long Ride Home

Indigo Girls – Mona Lisas and Mad Hatters (Live)

Already there is some thinking ahead that comes from a work  finished in March, called The Pretender, that hangs in the living room.

That work, with the main canvas being 20 inches by 60 inches (1.5 meters) is constructed around this small canvas, which adds quite a lot of visual appeal. That does not worked with this Vivaldi canvas, because again, three different instruments are being portrayed.  But, if the next canvas is another Vivaldi work, for example, and it needs only the Principle Violin,  then there will be that option to choose a  small main canvas,  with the tacking on of the rest of the music. This will make for more  work, for sure, but it adds, challenge, interest, diversity, and fun.  We shall see.

B.B King & Eric Clapton – Days of Old

Steel and Glass – John Lennon

Aimee Mann – It’s Not.

The next effort with this Vivaldi is to change all of these white lines, into objects that are colorful, interesting, rich looking, and add a balance to this work.  That may be what will bring this effort all together.  Not sure of that, but there is this thing that occurs that leads to the finishing of every one of these works.  Something finally happens to unite the whole canvas, and at that moment  it feels that the artwork has achieved all that is expected of it.  That is when the end is near, the clean up part begins, and the mind begins the process of letting go and moving on. Such is life.

Listening to Damien Rice – 9 Crimes  &  INXS  – Pretty Vegas

Finishing this post with a future painting,  Bach – Sonata No.1 in B Minor BWV 1014 – Adagio

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Autumn)adagio molto image5

Vivaldi’s Four Seasons, 5 panels 120 inches (3m) in length. I have decided it was time to move the photography of this artwork forward and work with RAW images. In the before time there was a 4by5 camera and a large format darkroom.  This photographer spend way to much time on darkroom techniques, instead of creative photography.  The move to digital and the end of the dream to be a professional photographer, especially after returning to painting in late 2004, all lead to the abandonment of the dark and the quest to be the next Ansel Adams. Today, I shoot  a Canon 7D with a Tamron lens, and shooting in RAW brings back some of those old beloved darkroom feelings.  Looking at this first attempt this web image is close to the artwork, in color and feel, but with a tad too much saturation.

Sinead O’Connor – Nothing Compares 2 U  Music that needs to be painted.

Listening to Renee Olstead – Someone to Watch Over Me.

This work has been in progress of over a month.  Summer has slowed the art, and it may take another week or more to finish this work.  It is important to finish it soon to keep the momentum and interest up.  This  canvas has been demanding and it was only last night that I began to see some aspects of what I call a finished looked. That is telling that the work is starting to become its own statement.

Joe Turner – Shake, Rattle and Roll

Queen – Somebody to Love

The ties (all those squiggly  lines) will be the look that will dominate this work.  To note this is the first time  that there are combos of hand drawn and  ties created with the help of a compass.  The use of hand drawn ties, especially along the right side as this music ends, softens the look, similar to the music as it fads away.  Again you see the influence of Sean Scully, in the rectangle stripping.  This Vivaldi music is composed of a lot of dotted half  notes.

Clint Black – Are You Sure Waylon Done it This Way.

July Collins – Brother Can You Spare A Dime

The drawings,  in this painting, of  this arts version of the dotted half-note, were done to create a unique look for each. Since this arts focus has evolved over the years to be about displaying the of flow of the music, and not to replicate the actual music, that has created an environment of freedom that tests, and pushes to see how deep the talent is. Music is much more then the standard notation that gives it a representation.  The best  musicians take a song to new places, and own it.  But can this art achieve those same results?  That is this artist quest. Still can he own it?  That, is something  I want to find out.

Listening to Landside – Fleetwood Mac

Bruce Springsteen –  Because The Night

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Autumn)adagio molto image2,3&4

Vivaldi’s The Four Seasons Autumn  II. Here is the Wiki link.  Scroll down to the Media section Autumn Movement II.  This canvas is 9 feet by 36inches (2.75m x 1m), so a 1000 pixel image, although bright on this screen, fails to capture the emotion and impact of the work. That is why all Art needs to be seen and not leafed through. Of course that does not explain my library with a large number of art books that have be collected over the last 40 years. It may be better understood to  known that I live in an area where  art masterpieces are scarce.   I remember once a long time ago, living in another small town, there arrived a tour bus at the local library. I was able to enter its narrow walk way and see my first Renoir. It was a small portrait, but that visit must have meant a lot to be still remembered, lets say again 40 years ago.

Listening to classic British rock the Zombies – She’s Not There.

The idea of this background is to make something special to the theme of this music, which is the quiet that comes with dusk.  Again, it would be nice if this background could stand alone as its own artwork but, I just do not see this happening.  Also, after the music is applied that background will be adjusted help push the music along, to increase interest, and to help dramatize this work.  At less that is the early thinking.  Everything evolves, especially the plan.

Vivaldi’s The Four Seasons Update with a 1500 pixel full image.  The background was at a finished point that it was thought it was time to lay down the music.  That is when the problems occurred.   It was discovered that there was not enough room to spread the music across this canvas.

In these canvases the music that is stylized is based on the voice or the G clef which is also called the Treble Clef.  But in this Vivaldi work it was important to the feel of this music to include interpretations of  two G-clefs and the bass clef.  In this Classical musical piece that would be Violino Principale along with Violino Primo, and for the bass you have the Alto Viola.

Well, there was a miss count and the amount of space that would be needed to represent this music with the length came up short.  After a lot of going back-en-forth, from adding on top of the original background different sizes of canvases, to reducing the size and spacing of the music, it was decided to stay with the original plan, and simple attach on a fourth canvas to the original three.

This piece will be painted a dark Prussian Blue to build a dramatic end to this music which softy fades out. The idea of placing a riser canvas on this work, just did not go with the music,  because much of the ending flows quietly through a number of bars.  The concern was not to break that flow, so that is why this one feet by 3 feet section was added.  Since this added canvas is slightly wider in depth, that extra depth was pushed forward to help make this section of the work stand out even more.

Vivaldi’s The Four Seasons image4 1500 pixels or ten feet (3m) in length.  As you can see this work has moved in a different direction, and now beginning to take on its own look.  It started with the painting of the left panel with a Prussian Blue wash, that lead to the free hand addition of the darker Prussian strips. That looked worked so the obvious next step was to heavy line the flat upper magenta color band.  That work, which lead to the additional lines across the lower bass section.  Next the hard orange line across the middle seem out-of-place and too reminiscent of the orange bars across the magenta.  After some failed attempts, a dark Prussian blue was used  that seemed to pull the canvas towards that final vertical Prussian add on.  It all worked with the final free handed lines being added to the top and middle sections.  The loosely handed addition of these lines across all of this work brought back a  touch of the feel of Mark Rothko, the artist that is a foundation of this art.

Now, it is a number of days later, so although there are no new pictures for this blog, it is important to know what is going on in my head. Most of this music is composed of half-notes , which is unusual for most music.  So, looking at what has been done in the past, the thought was lets fine a new idea.  I did, with the help of Leon Polk Smith.  Here is his image on ArtNet.

So, what has been going on the last few day is that I have started with Polk’s 30 inch work as an idea and turn it into 80mm circles to represent all the half-note music that flows through this Vivaldi piece.  Looking at the progress so far you would be hard pressed to see Polk’s influence, but it is there and credit must have its do.

Looking ahead it is easy to see  that a lot of this background is going to disappear with the addition of the many musical ties that musicality make that smooth sound from the start to the very end of this piece. Another realization is that this simple, musical piece is going to end up consuming more then average time, and will end up being a highly complicated visual artwork, a lot simpler to listen to then to paint.

Listening to Ray Charles – How Long has This Been Going On

Love from the Moulin Rouge Soundtrack

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Autumn)adagio molto image1

Vivaldi’s The Four Seasons Autumn – Adagio Molto 3  panels 108 inches (2.74m) by 36 inches(.91m).  The first image is this series is the single hard line that is there to hold the entire work together, no matter what else is done. Nothing special here.

Listening to Meat Loaf  – Objects in the Rear View Mirror.

Next is image two.  The thought here is to follow the the lines from the Autumn sonnet. Using H.C. Robbins Lando’s translation from Vivaldi Voice of the Baroque it reads:
Each one  renounces dance and song
The mild air is pleasant
And the season invites every increasingly
To savour a sweet slumber.

B.B King – The Thrill is Gone,  classic pop Blues.

The words that that were chosen for this work are from the second line.  The look of this work come from the fourth line.  The theme of this canvas is the coming of evening.  This third image shows this better with the top related more to the setting sun on the horizon. The bottom and left side of this work are painted to represent the base notes, and the gradual onset of evening.  At less that is the idea and direction of this canvas for now.

T.I. –   Big Shit Popin’

The second and third image are rough.  It is a surprise that all of these works start out much this same way, and how in the end they are refined to a level that fits the subject matter. Since this work is challenging past techniques, and styles, a clear direction is unknown.  A lot of thought is going to be given to what has been done so far, and what to do with it next.  We will see what happens tonight, but for right now there is concern.

The Doobie Brothers – Rockin’ Down the Highway.

Judy Collins – Amazing Grace

Scott Von Holzen

S_V_H Vivaldi’s “The Four Seasons(Spring)” Largo finalimage

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

S_V_H Vivaldi’s “The Four Seasons(Spring)” Largo image4

Vivaldi’s The Four Seasons RV 269 122 inches (3m) in length, and the second in the 13 part series that celebrates these four concertos.  Link  HERE and at the 25 second mark the painting follows the flow of the music.  It has always been felt that when viewing this art that there should be music present, and turned up.   For sure,  the music can survive  without this art, but I can say without doubt, that this art needs music to be appreciated, and to be connected.

Tab Benoit – Drownin’ on Dry Land

Listening to Naughty by Nature – Hip Hop Hooray

Duke Ellington w/ Ella Fitzgerald – Satin Doll

The Art Deco lines, seen in the above images,  are something new.  They are, the  result of a felt need, to move away from the tried and proven style for representing a  musical Tie, that can be seen in Summer Allegro non molto.  Also, in those ties the continuing influence of Sean Scully, for example,  can be seen.  But now looking at them there has been a change in thought.  In some way, could it be possible to  Rothko those  boxy blue rectangle,s that are supporting and enhancing those ties, or at less soften them to better match the mood of this music.

Canned Heat – On the Road Again, a classic favorite.

The Funk Brothers – You’ve Really Got a Hold On Me.

The words need to be punched up somewhat, and so does the overall green background look, that has become somewhat common.  Since the backgrounds purpose is to do more than be an abstract painting, that sets the mood for the music,  it would nice to find a better, stronger, more creative, and original style.  There is a lot of discovery to be done.  The original ideas for the backgrounds came from the influences of Rothko, but little of that is being seen here. There is the need to take another look at Rothko and other artists like Hans Hartung, for example. For now the thought is do something with the large rectangle that holds the words.   A change here would pop the message, and strengthen the bottom part of this artwork that now appears to be top heavy.

Listening to Patty Griffin – Peter Pan

Shakin’ Stevens – Hot Dog

Scott Von Holzen