S_V_H Your Song final follow up

Your song with the music in place.

The following video I had to do in two parts. While filming, I carelessly removed the music from the background. This resulted in a magnet falling and damaging the sound board part of the stereo system. The sound board holds the music file and enables me to connect a switch that, when pressed, plays the music. That accident required the soldering and putting together of a replacement sound board that was then rewired to the amplifier, which was not damaged.

The Peter Principal states that “what can go wrong, will go wrong,” What makes that logic even more obvious and true was that I knew well that easy access and a low profile made the stereo components vulnerable to accidents. For now, until I can come up with a better design, I added a simple cover of light bubble wrap over the entire stereo system to deflect and absorb contacting.

Here is a picture of the stereo system used for the music box of Your Song.

This artwork project could be a sign that I may revisit the use of stretched canvases. I like their strong support structure for the music, along with their ease of handling and cost savings. I also have a lot of canvas stock from previous purchases that I do not want to waste.

My custom combination of metal framing and free flowing canvases cut to size eliminated a frustration of the limited sizes of stretched canvas that comes with the benefit of cost, and time savings. over making my own frames and stretching the canvas. That means I will continue to use and take advantage of the freedom of this technique, to breakup, and counter the boxy closed look of traditional stretched canvas.

Scott Von Holzen

S_V_H Rhapsody in Blue final image

Rhapsody in Blue 87 3/4″ in length by 21 1/2″ maximum height.

I built Rhapsody in Blue from the previous artworks, Vogue, and Ronda All Turk.  These three works are the major artworks for 2018, not only because of their size, but because they may have given me the opportunity to shake the artistic tree.  This final image of Rhapsody’s contributes to that shake up.

Rhapsody in Blues obviously quivers the tree visually, because of its unusual handling of the subject matter.  Portraits, and landscapes, and abstract paintings are all positioned  on their backgrounds. This is not true with Rhapsody where the subject matter is physically independent from the background.

What is that rustling of the leaves I am hearing?   Well that is Rhapsody presenting a  look that drops the stylistic use of the splish-splash use of color seen in much of today’s art.  Rhapsody also combines two different forms of abstraction seen in the expressionist coloring of the music  while the rest of the painting uses the solid colors of colored color field painting. The limbs and leaves of the artistic tree are now swaying about.

And finally, to shake the fruit from the tree,  I replaced much of the background with space and air leaving the stretched canvas, decorated in Art Deco, to symbolize a background that serves little purpose.

Each of these paintings could help to define music to the viewer as something that is not to be heard but felt.  If that is so than I am heading in the right direction. If the viewer see these three paintings as original fine art pieces than I am certainly staying this course.  And yet I am far from seeing any of that happening.  None of these artworks have sold,  or received any attention including appearing in public.  Until that day arrives I will keep doing what I have always done: move on to the next project, while keeping my focus on shaking that damn tree.  To step up the pace I might have to bring out the saw.

The Giving Tree, a favorite book of mine by Shel Silverstein


Scott Von Holzen

S_V_H Vivaldi’s Four Seasons Summer Presto Final Image


This is the final image of Vivaldi Summer Presto Third movement from The Four Seasons concertos. This twenty-foot artwork is  the last artwork in the thirteen painting Vivaldi series that I started almost three years ago, March of 2012.  I have always believed that I could actually accomplished this project.  The surprised is that this could be done.

This is the longest painting in the Vivaldi series.  I can say that this is also the most complicated painting from that group that took an incredible long time to complete.  Looking at my notes I put together the plan for this artwork on November 5th, actually starting the project on November 8th. I put a finish date on the back of this artwork of February 25th.  I actually signed it on the 26th, and on the 26th I realized I had missed a part I wish to add from the music. That small addition, added to all eight panels I finished on the 27th. Summer Presto was then photographed, and I created the video for the walk through.

This painting owes much to the other Four Seasons paintings, but like the other twelve artworks, this one stands out as its own unique work of art. When I approach this last artwork I kind of wanted it to be a summary of  the past works, or an artwork that took from the past, and turned it into more than the sum of the rest. That did not happen. Each artwork eventually finds it own way, and eventually I see that and then I do my best to catch up to the obvious in front of me.  They become something beyond me. They guide, they demand, they expect, and they always win. I do their bidding.

I became an artist, in the hope, to get back my definition of me,  that I felt I lost in 1993 (long story). That might sound ridiculous, and I agree, but I want to be known as Scott the Artist (another long story). A secondary goal is that I would like to be the boss of my life (silly but true).  I may eventual gain my identity back, but the boss I will probably never be. These Vivaldi artworks make it clear to me each time I sign my name, who is in charge. I am their caregiver.

After working on a single artwork for almost four months most of the excitement that goes into creating art gets spread  thin across such a considerable amount of time that there is little emotion left when done. Right now I feel good that this series is over, but I do not feel any urge to celebrate. I guess my feelings towards the Vivaldi Group will not change because the only way I can see all thirteen paintings is to view them on the website. Even though all the Four Seasons painting are within fifty feet of me stacked away where all I can see are the parts that stick out from storage. The only three paintings, I can view in their entirely,  are Summer Presto on my easels, Winter Largo that has hung below my bookshelf ever since I completed it  a year ago, and hanging in the living room wall is Spring allegro.  My joy and pride will be there when all thirteen painting are on view. I am thinking my reaction of seeing them all together would be the same as Vincent Van Goghs, when he first saw his artworks scattered all through the apartment, while visiting Theo in Paris.  When and how that day is going to happen is the next chapter in this story.

Let me talk about chapter two of the Four Seasons Paintings.  I will be putting together a new website dedicated to these thirteen paintings, to display, and to promote them. This website will have one goal and that is to give free to an art museum, hopefully in America, this entire Vivaldi The Four Seasons series. This will be an interesting chapter, that hopefully adds a lot charm to this story of a boy and the dream to be something more than me.

Scott Von Holzen

S_V_H Keep on Loving You final image


Keep on Loving You this five foot 4 inch artwork look is more interesting, to me,  than the original music.  I think I could have reduced the physical size of this work, but the canvas I used gave me the extra room, (that is rare in most of my musical portraits), to let my slurs, those huge almost circles you see above the musical flow, a chance to really express themselves.  I had the space so I used it to their advantage.  Those slurs come straight out of my last Vivaldi painting.  I have realized that if done right my slurs do not need any squiggly lines. That is how it works: I am learning as I go.

Originally, I was going to go with the words “I’m Lovin’ you,”  but strange the word ‘i’m’ I could not find any space for on the first canvas, so I dropped it.  Lovin’ you, says it all, covering a lot of territory.  I see it is important to paint more than just one Vivaldi after another.  These little works offer ways to try to maybe explore painting techniques I am trying to do on the large work.  When I see that a new idea works on a 15 foot canvas, I then know I can move that idea to a much smaller work, and see a greater effect of that idea on a small surface, which carries with it a bigger impact on the artwork.

I like this artwork, it has that look.  Now on to another Vivaldi.  This time it is the late fall movement.

Scott Von Holzen

S_V_H Vivaldi’s Four Seasons Summer Allegro Final image


This 15 foot 4 inch monster that began on July 3rd is now finished.   I am glad to move on. That only leaves four more Vivaldi’s to do and the set of thirteen is complete.   A good guess, for the finish of this project,  would be something in June of 2014, or probably July of 2014,  just in time for a needed vacation.

I do not have many thoughts lift about this work, because I have worked on this one work almost three months.  Here is what I can say:  it is big, it is diverse looking, and it represents the best effort  of this artist.  That is so far.  You could remove the bolts from this work,  separate them, and it would look like each canvas belongs to another artwork.  That I find fascinating and a direction I plan to keep developing to see how far it goes. Because as you know the real quest of this artist is to find out how it will all end.  Although the canvases are each unique you cannot but see that when they are all put together, it works.  I am sure those of appreciate this music will wonder why I pick the phrase that I did from this music considering how powerful most of the music is, and this is not.  This phrase of music, about 10 seconds,  is the sound of a little finch chirping.  I use it because this part of the movement is unique in the concerto.  There that is it, which you will be able to see, and hear,  when I post the walk through tomorrow evening.

Next up is the last of the Autumn  movements completing the first of the four concertos.  It is also called Autumn Allegro.  So the fall concerto starts with Allegro and ends with Allegro.  Maybe I will have to call it Autumn Allegro last movement.

S_V_H Beautiful Day 2013 Birthday Final Image


Beautiful Day 3 panel artwork about 60 inches by 24 inches in size.   Since the goal is to produce a finish artwork in a day, that normally takes two weeks,  the push is to find style short cuts to save time and effort.  Below are the last three years of Birthday Paintings. The shortcuts I used for these paintings was to use a Vincent Van Gogh master artwork as the color scheme.  I then used quick, less structured brush strokes, to speed up putting down the paint.  Still, all three of these years it was a struggle to complete the work in a day’s time. Then with last year’s  painting I felt especially frustrated with this van gogh’es  look, knowing that it had nothing to do with my current style.

For the 2013 Birthday Painting, the Van Gogh look  was out.  I never even considered breaking with my current style.  What made that decision easy was the reduction in the total length of the painting from six feet to five foot.  That one foot difference, plus my advance construction of all the needed canvas, allowed me the extra time to paint in the same style that I was using for the current Vivaldi work.

The day did go fast, and all the decision-making was swift, and there was a certain level of stress in the constant need  to move it along, but in the end I finished the rough final by early evening.  And the reason this plan worked was because all I had to do is look over at the fifteen foot, unfinished Vivaldi work, to know what moves were up next.

My conclusion,  after a several hours of clean up,  is I do not think I could have done any better even if I had painted this work over a two-week period.  This work not only strengthens and reinforces my current style it, in some ways, helps to mature my current look.


2010 Birthday Painting Long & Winding Road


2011 Birthday Painting Don’t Stop Believing


2012 Birthday Painting Forever Young

Now, we are moving on with another five foot, four panel artwork.  Of course this painting will take two to three weeks to complete.  What I am doing is to try to produce smaller paintings that I can charge a lot less for.  I am thinking from $300 to $600 for another five foot or less artwork.  The point is I have accumulated a wide stack of artwork that has not sold in the last two years and more.  I have reach a point where it has become necessary to try something different. I may find that these smaller size works are the answer to how I can improve my sales.

The light bulb came on when I meet Professor Buchholz  in the U W Music Department to discuss where they thought Blue Rondo a La Turk could be hung.  Although, by my standard this artwork , about 76 inches by 32 inches  was small, the Professor kept walking and pointing to walls and spaces, telling me it would not fit any of them. Finally, we ended up in the large orchestra room. He, again pointed to this and that wall, explaining for each why the artwork would not fit.  Finally he pointed  to the last wall, a long-span of large windows. That is where he thought it would have to go for at less two years, until the  finishing of the remodeling.  My beautiful Blue Rondo, for now, will hang above the windows,  ten off the ground where no one will know it is there unless they happen to look up, way up, yea way up there, yea that is an artwork, way up there. I said that would be OK, because the painting would be out of direct sun light, and because it would eventual be hung lower for viewing directly.  What else could I have said.  He said he had discussed Blue Rondo’s placement with the Art director, and that was the conclusion.  He asked about how many hooks, and I said two. He said he would let me know.  We shook hands and I left.

That is the reason I have started to paint  smaller, cheaper,  and probably compromising artworks.  That is if you think five feet is small enough, and that  it is OK if I chop the musical phrase when needed,  to make the music fit.  Oh, no, I am back to the beginnings, making the music fit the canvas.  At less, so far, I’m not vertically challenged.


This is a requested work based on that eighties great love song Keep on Loving you by Reo Speedwagon.  This constructed artwork consisting of four panels with the largest being 24 inches by 24 inches, and with a total length of five feet four inches.  Oh well, I find it hard to set limits to my artwork.  I will keep trying. You dreamer you.

Scott Von Holzen

S_V_H Vivaldi’s Spring Danza Pastorale Final Image


This is Vivaldi’s Spring third movement.  She is a beauty.  This artwork took two months to complete.  But, when I look at the Vivaldi page, and see that I have completed eight of these works in 14 months, I am thinking that is too bad.  You have to consider that I am living the Jackson Browne’s lyrics from The Pretender, “Caught between the longing for love. And the struggle for the legal tender.” I am still working full-time at my Day Job.

This is a BIG side note about how I listen to my music.  Currently I am using the Companion 5 computer speaker system from Bose. These speakers play my Chopin music as well as Nelly (I like Nelly in Air Force Ones).  By those standards alone these speakers are in a league of their own.  But things changed last week when the sound from the Bose just quit with the control pod, that turns on and off the system, and adjust the volume,  froze up.  Shutting down the speakers and unplugging the connections seem to work at first, but then that fix failed.  When I called Bose, they were quick to answer: that it was the control pod.  I ordered a replacement, very reasonable.  But that meant that  my sound system was going  down until the part arrived.  Now what, I cannot be without my music.  When the Bose support person told me that it would take about seven days before I would receive the replacement part, I knew I had to find a plan b.   Then out of nowhere,  I remembered that I  had another speaker system, that had sat on the shelf for years.

Back in the mid 1980’s I spend some $1,200 for a per of ADS L1290  tower speakers, powered by a NAD 7140 receiver.  Each speaker weighs 75 pounds and has two 8.3 inch woofers, a 2  inch soft- dome, and a 3/4 inch soft-dome tweeter.  I have not  used these speakers  for many years ago.  The reason is that once I started to work with computers, I needed my music and that meant I needed computer speakers, and of course that excluded the towers.  Anyway, their huge, and I did not have the space, especially, when I started to paint in a small bedroom.   They have basically been in the way, getting a little beat up, and having dust thrown at time during the remodeling.  In fact when we moved to our current home in 2009 I offered to sell them to a college guy helping us,  for $50 dollars.  He turned me down.  Boy, was I lucky.

With my Bose down, I ran to Radio Shack and bought a 3.5 mm to RCA cable.  Dragged and lifted those big babies into my studio, hooked it all up to my computer, and WOW what a difference.  To start with these ADS speakers are even today in a class by themselves.   Their sound is outstanding, and  matched with the NAD receiver, everything is so clear and clean, no  ported woofer here.   I cannot tell you how much better these towers are over the Bose.  It is like I have taken the wax out of my ears. The difference in listening depth between these ADS and the Bose,  is remarkable.  You hear everything with the ADS speakers, no frequency escapes them.  The sound is multiple dimensional.  It is like I am in Music Heaven.

OK, back to this Artwork.  It is gorgeous.  It is  because it represents that time in Spring when everything is fresh and bright, clean and clear.  This artwork is unique in that there are three layer of depth to this work.  It is hard to see,  but going from left to right with the right canvas being the first layer here is how it goes:  Canvas A first layer, canvas B first layer, canvas C second layer, one layer back, canvas D also one layer back, canvas E three layer  two layers back,  canvas F back to one layer back, and canvas G back to the first layer.  What is happening here is that as the music drops in pitch so does the artwork Then when it comes back up so does the last canvas.  Also I like the evolution of the rectangular beams.   I particularly think that those little stripes running through them create an extra dimension.  Previously mentioned , I do like the way those, half oval ties, turn out.  Again this style is a tribute to Cy Twombly.  And finally, I will certainly be using my home-made tools to spread the backgrounds out, hopefully more evenly on the next work.

I have contacted a Chamber Orchestra in St. Paul Minnesota about getting their permission to use their Four Seasons music at my Vivaldi’s show, sometime in 2015.  I would not be blame them if they never answer me back.  Who am I?   If I do not receive an answer from them in a couple of weeks, I will contact them again, maybe explaining myself a little more clearer, especially  how I would use their music.   This is  a learning experience,  to see if I can develop contacts in the music industry,  and to see how hard it will be  to get their permission to use their music.  I see nothing but benefits for the music and the artist, but now most musicians would certainly feel that I need them more than they need me.  So that means, I have to work twice as hard, and three-time longer to prove that I am for real.  To build credibility, and prove the benefits of this art will take the goal to the next level.

Listening to New Order – Sub

Winter – Tori Amos

Abba – SOS

Chopin Etude In E, Op.10/3 Tristesse

Scott Von Holzen

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

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

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(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