S_V_H Gallery pickup comments

Top Beethoven’s 5th then Mozart’s serenade No. 13

This was what I saw when visited the Gallery where I have had artworks on and off displayed for sale since 2017.

The picture I took when I was about to leave. The Music teacher was on the left and a candy store on the right. Both are now gone along with my artworks.

I took part in two one day shows at the Gallery back in my old Art Fair days. I was asked and had a month long show then in March 2018. When that show was finished, the Gallery manager, Christy (a loyal supporter) hung on to a few of my works. Eventually, she gave me a more permanent spot to hang next door to a music teacher in March 2019. Later, because nothing sold, I removed and hung the wonderful artwork, Africa. That also did not sell. I replaced Africa with two of my smallest works, a little Beethoven and a Mozart piece. I priced them to sell even though the Gallery would take 40 percent of the sale. They did not.

Christy and I talked and neither of us had any honest ideas about why this art did not sell. She mentioned another gallery that had new owners. I told her I would be embarrassed asking them to sell this art when years have gone by at her gallery with any offers. I told her I would be back when the circle comes around. She said hopefully to display this art again. So that is what it is.

Scott von Holzen

(I searched my bog entries, but I found nothing about the story told to me by the music teacher when I stopped in to replace Africa. He said he was sad to see it go, for his students would press the play button on Africa to let him know they had arrived. He said he would post a picture of Africa on his Facebook page. Maybe some day I will remember or find out who he was and post that image)

S V H my Brother my Patron

Roger Lee Von Holzen

This bog site has existed for over ten years with the sole purpose of documenting this artist’s journey. That is what it has done and also that limitation is why at times it has failed to do. It turns out there is more to this story than me creating art. It is time to acknowledgement this art’s greatest patron, my brother Roger Von Holzen. Here are the images of the artworks and prints that hang in his home and a rental of theirs. Added to these pieces are the other art items, including prints which he gave to friends and associates, and his pivotal help in the sale of two other major artworks.

I have not been to my Brothers home for many years. It was an eight-hour drive to Missouri, and his considerable busy social and work related travels, and his many other travels around the world, made planning a trip to Missouri seemed a distant idea. Lucky for us, he and Myk traveled North each year to our family reunion and occasional visits. I am certain if I would have asked them they would have found the time and insisted on a visit. Our move to Eau Claire help cut travel time to seven hours, which made the difference.

There I was finally back at his house and the moment I walked in his front door, the artwork over the fireplace took my heart and breath away. Roger and his husband Myk, on a visit in 2008, bought What’s New, painted in 2007. My heart continued to fill again with emotions each time I walked into another room and there was another artwork or print on view. I knew the art he bought from me. What I did not know was how much this art meant to him. I should have known. I should have been more grateful. If only I would have.

Roger passed from my life on the morning of August 9th. I held his left hand, my other Brother Jeff held his Right hand, while Myk whispered in his ear, and around us were his closes friends and hospital staff. All of us were there for him until his last breath unselfishly allowed us to let go.

2020 Myk and Rogers last visit to our new home
I will always Love You

In 2017, I created this artwork for Roger as a gift for Myk. I remember Myk chiding Roger over the artwork’s theme song sung by Whitney Houston. Roger smiled and pushed gently back, defending his feelings.

Life is for the living, and I will try harder now to live it to my fullest. Roger certainly did. What he stood for and taught me was to do things while you can, whether it is creating great art, traveling to enrich your life, or attempting to connect with those you care about. Roger reminds me every day that the time is now, for the future may have other plans. I now understand Roger’s sentimentality over a song whose words speak about his love and devotion. Roger will remain a missing part of me that I can no longer touch, hug, or share a smile. I breathe for him in remembrance.

Scott Von Holzen

SVH “Sold” Walking in Memphis

Walking In Memphis 2019
Walking In Memphis 2019

Before I talk about the sale of Walkling in Memphis, I would like to comment on this image of Jaime O, the person who questioned me about why I gave up painting. This photo of Jaime in front of Twinkle and Gold Rush is how I see and know him. I see his pride in what this art has accomplished and, importantly, his part in this artist’s comeback. Well deserved. The question he presented to me back in late 2005 came from one of our many conversations.

Jaime O picture at my CVA exhibition in Wausau

Jaime’s office was across the hall from mine. And since I did not have a window, and he did, in search of a break or a change of scenery, I would often venture into his office. This occurred more often in the midafternoon, let’s say from 2pm and on. When Jaime was in his office, and not on the road selling, and it was around that 2pm time he would this tendency to get a little sleepy. To help refocus both of us, I would check my watch, listen to hear if he was on the phone, decide that world of IT was safe for this moment, and only then wander into his office.

I enjoyed his view, but it was a conversation I was in search of. Either of us would start it with a tease. Jaime was then, and probably still is, a world traveler selling to many markets. This allowed him In this spare time abroad to visit the local art museums and such. I, of course, found this art connection interesting and one I wanted to converse with him. That was something Jaime enjoyed. He not only understood great art, he also throughly enjoyed talking about himself. Although I always felt engaged with our conversations, no matter the subject.

It was during one of our exchanges around art that he questioned me about why I gave up painting. That became the change moment that may have helped instigate my shift away from traditional photography and into digital photography. Eventually, his words spun me around, away from photography and back to art that I had abandoned in the early 1980s.

I gave him an artwork as a thankyou in early 2006. Finally, I remember one brief conversation we had when he said that my name, “Von Holzen.” sounded like an artist or high end stereo equipment. I thought that was a wonderful comment. Years later, neither of us knew I would develop the potential to become both.

Gift to Jaime, Beethoven’s 7th Symphony

This is the video I received on my phone with the Owner of the company saying, “sold,” for Walking in Memphis.

Late in my fifties, I returned to a two-year tech school for five semesters to earn a decree in Computer Information Systems. This company then hired me for their IT department. Almost all these smiling faces I worked with, supported, exchanged stories, debated with, learn from, care about, and still miss today after being away for five years. They are from the sales department of the company I worked for fifteen years. The name mentioned in the video is a great work friend and one of the company’s top salesperson. I received this video from him and we still exchange text messages to this day. Of course I took this photo that like Jaime’s image clearly displays the character of this special friend of mine.

Walking in Memphis sold for $4,000 dollars. This is my largest single sale ever. Once again, I want to thank the company not only for their generosity, about also for their remembrance of my many enjoyable years serving their needs. As for the two person show at the Center for the Visual Arts in Wausau, Wi that was a disappointment. Although I am pleased to show and split the sale monies with them, nothing else came out of that effort. I did not expect to “Break on through to the other side,” but no feedback? Only experience was gained. I expected such and was proven right.

Scott Von Holzen

S_V_H The Blue Danube – Awards Night at the Pablo

Photo - Barb Von Holzen

This smiling face means that this Art has finally received recognition.  This last Friday night at the Pablo Center artist’s reception for the Homecoming exhibit I received the third prize winner for the artwork The Blue Danube (2001 Space Odyssey).   It surprised both Barb and me.  This is the fourth reception this year we attended, and at each event, there was always hope that the artwork would receive at less an honorable mention.  In the lead up to the prizes being announced Rose Dolan-Neill the Visual and Literary Arts Manager mentioned that they received four-hundred applications from thirty states and that they had a difficult time choosing the fifty-three that were apart from this show.  She considers us all winners and I believe her.  In the audience, there was not one artist that did not think they deserved the Grand prize. The juror for the Pablo show was Yoonshin Park.

I remember telling Barb that I wanted to talk to the juror and approached Yoonshin Park in the awards room, even though there were others standing by her.  I was on a mission and eager to ask for feedback.  Because I was on an emotional victory high, I recall only parts of the conversation between Yoonshin Park, her friend, and me.

To describe the overall exchange I would say it was, enthusiastic, exciting and fast-paced, and confusing.  To my disappointment, I had difficulty in understanding Yoonshin Park’s English accent.  She was born in Seoul Korean.  Here is the Pablo’s information about the juror:  “Yoonshin Park is working with sculptural papers, artist books, and installation. Her main media concentration is pulp, paper and books. Her interest in comprehensive process of paper making and book binding caters her work to en-compass various elements woven into complete objects. She received her M.A. and M.F.A. in Interdisciplinary Book and Paper Arts from Columbia College Chicago. Her work has been exhibited nationally and internationally. She was born in Seoul, Korea and currently resides in Chicago, IL.”


There was one moment when Yoonshin Part spoke and I repeated the words in my mind so to try to not forget.  She said these specific words about this art “…different direction…”  To my great disappointment, I cannot remember what she said right before or after.  I remember her saying she had a hard decision choosing between The Blue Danube and another entry, Mozart Serenade No. 13.  With the mention of Mozart during our conversation, I bought up my current artwork, Twinkle Little Star, and told her about the connection with Mozart.  She said she knew the music adding no further details.  She asked about the size of the work, and I said about five feet by four feet, and she and her friend both had a reaction, but I did follow up to know what they meant.  I remember her praising how the features,  structure, or makeup of The Blue Danube, worked so well together.  I remember her talking about her understanding of the artwork, and as I listen I became lost.  I pointed to the picture of The Blue Danube on my award to make sure she had not mistaken my artwork for another winner at the show.  She said yes she was talking about the Danube and I said something about I never looked at the artwork that way.  I don’t remember her description.  I remember praising her as an artist and may have asked her something about the moment that she thought she had made it as an artist?  To my surprise, she looked away from me and mentioned that for four years she struggled and did little or no work on her art.  I remember no more other details about her art, but I recall being surprised by her honestly.  I think she asked how did I come up with the description of my art, which is Interactive Constructed Sculpture.  I told Yoonshin that I never like the term, mixed media.  I mentioned that I had 200 art books, maybe to tell her how I came across the term.  Then I described Pablo Picasso’s cardboard wall sculpture of a violin (actually it was a guitar) he did in 1911, which was the first Constructed Sculpture.  I asked her about getting my art out so more could see it.   I said something like I didn’t want this art to die in Eau Claire.  Although, I quickly defended Eau Claire for being good for my art.   That is when she and her friend both perked up and after a short search, Yoonshin pulled out her calling card and pen and wrote Chicago Sculpture International.  She is a member and spoke about an upcoming exhibition at the Bridgeport Museum if I did not mind traveling. Then her friend mentioned, and Yoonshin wrote the web address callforentry.org that she thought would be helpful.  I do not know why it came up, but I told her one of my goals was to walk into the museum of Modern Art and look across the gallery and see my name on an artwork.  I then said somewhat awkwardly that I would then look for my next goal.   For reasoning beyond me, I said to her not everyone can be a child prodigy.  That statement seemed to light both of them up in agreement.  I continued that some of us have to take the moment whenever it comes. For me, at seventy I wanted to take the next twenty years to see how far this art could go.  Yoonshin Park was kind, thoughtful, open and helpful. Talking and listening to her was as important to me as the award.  I have never had a conversation with a successful contemporary Artist.  It thrilled me.  I lastly remember asking her if it would be okay to email her and she was fine with that.  A few other remembrances are that I slouch down so I could have more eye to eye contact with Yoonshin.  I remember her standing there with her coat wrapped over her arm.   I reached out a few times and lightly touching her coat when we were talking.  I guess to add emphasis to a point I was making, but wish I had not.  Finally, when they were ready to move on, I gently shook their hands and remembered saying to her friend, who was much taller than Yoonshin and dress in all black with a hat, that it was nice meeting her even though no one had mentioned her name.

Awards Ceremony clip of me receiving third-place at the Pablo Center for the Artwork The Blue Danube.  I never thought of the video and did not realize that Barb had captured this important moment.

Scott Von Holzen

S_V_H Up On the Roof Final image


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 Vivaldi’s Spring Danza Pastorale image3


This is the eighth canvas in the Vivaldi’s The Four Seasons Series. This work is about thirteen feet in length. Again, these large images are hard to photograph and even more difficult to separate from their backgrounds.  I do not have enough natural light in my studio so to photograph an artwork  I use flash for my light source.  The problem with flash, is the issue with glare, which becomes more of a problem the larger the work.  A long artwork makes it physically impossible to find the right space to take a good photograph.  So, to get a decent image, of these large works,  I have had no other choice but to take them outside, placing  them precariously in the bright shade.  I have also found that the best way to get a good size working image is to take a left and a right photo,and then use Photomerge to put them together.  Generally, it works if  each image can be aligned with the camera,which lowers the distortion,  but this is difficult to do outside.  The final images are never perfect. That is where Photoshop comes in, to bring the two images together, creating a large detailed image.

The progress of this work has slowed for many reasons.  Right now, the beams are done, and you can see that all eight of the ties, all those colorful half circles,  have been completed.  How I will actually draw in the ties I am not sure.  One thought is that I really do not have to draw them in.  All those circles can easily represent a musical tie.  There is a similar half circle  in Blue Rondo, but in that work I did draw in the tie.  In this artwork, drawing in the ties would be a lot more time-consuming, but  I am still leaning on drawing something inside those circles.   I need to experiment, to see if I can come up with any new ideas, which is the next step in this artwork.  Unlike work were you have your fellow employees to bounce ideas of, and get feedback, a real artist is pretty much on his own.


When asked what I do, I say what my job is, but then followup with that I also  paint fine art at night.  They always ask me what have I sold.  I tell them, five works, but nothing lately.  The conversation then enters the mopping up stage where my artistry becomes defined as a hobby, which is nice and personally rewarding.  Defining  my art  as  amateur,  leaves me looking for an exit sentence.  But generally those type of conversations end quickly, which I am fine with.  It all seems like a waste of time. anyway, trying to explain myself, my art, and what goes on at night to causal viewers.  All art is  personnel, and if it is Fine Art, it exists in a world beyond the understanding of most people. These type of conversations, anyway, are about finding ways to put people in boxes, and some people have put me  in the have fun with art box.

So, that brings me to this. I think I found  how the established  Art World would perceive me, if they wished.  Here is a video link to CBS’s Outsider Art, which is Art that, at times appears similar to Folk Art, Self-Taught art, or Naïve Art.  But when I look at my art, I do not see anything that looks like Folk Art.  I do see Outsider Art in that my works  are works of  Fine Art, but just not recognized in the Main Street of the Art World. In the  video they expand greatly on my definition, in part that it  comes from “self-taught artists: that have little or “no formal training,”  whose created world has “no connections to commercial art world, to museums, to galleries.”   So now when strangers ask me about my Art, I can now say I am an Outsider Artist.   What a fine box that is.

Listening to Keane – Your Eyes Open

Scott Von Holzen

S_V_H Dave Brubeck Blue Rondo á la Turk Finalimage

BlueRondoFinal This is the Final Image of Blue Rondo á La Turk. These 8 canvases, that make up this work, contain a piece of the music, that when arranged, as you see in the images above, produce the flow that is Blue Rondo. This sectioning of the music gives me more creative options, enhancing the overall look and emotional impact to a greater extent than canvas based on one look.  Each piece can stand out, but still remain part of an even greater whole.  A universal theme, I do believe.

In the past the look of an artwork was fairly consistent even across multiple canvases.  For examples take a look at Thunder Road, Hallelujah, or Body and Soul, all from 2011.  This trend continued through 2012 with Four Seasons Autumn Allegro, completed in December and  pictured on the main page of the website.  This pieces  look of Blue Rondo first showed up in early march, of this year,  with The Pretender.  That trend showed its strength with 2012 Christmas painting, Let It Snow.


Take a look at the only other Dave Brubeck piece, Take Five,  from March of 2006, and you will see how far this art has changed. What a different 7 years can make.  According to the words of  Robert Frank, a photographer must have both a sense of Purpose and a sense of Passion. I cannot help but think that is the same philosophy that drives every creative person and what pushes this art. Everyday, I interact with people who have purpose but no passion, and regrettable that has become a learned and a reinforced behavior, in today’s disposable work place.

Scott Von Holzen

S_V_H Vivaldi’s Four Seasons Winter Largo image4


This is image 4 of Vivaldi’s The Four Seasons – Winter – Largo.  This is the sixth in the 13 part series with this artwork measuring 15 feet(4.572m) in length.  The next image you will see of this work will be the final completed work.

One addition to this work are the two interesting eight notes.  They have similar contours as sailing masts in a good wind.  I have always admired sailing ships, and actually did a little sailing in college so I have enjoyed this approach to these lone notes. Over the years there have been a lot of different attempts to display eighth notes with this idea being my favorite approach.   In addition to the eighth notes the quarter rest at the end of this work, I also like this evolution of this type of notation.  Those three angled rectangles  look to me like they are putting on the brakes, which works as a good representation of a musical rest.

This is work is now in its final days.  The main components have all been painted in, which leaves the only the finishing.

Rough Image:


Image finished:


I could easily leave the work as is,  with only a little amount of clean up, and in truth the main points made in this work would still all be there. But it is the cleaning up and the sharpening of edges that gives the work that professional look.  These artworks may not have that plastic finish of much of the current  art scene, but art is more than the look it is about the depth of meaning and  purpose, along with  lots of originality.

Let me expand on originality, in that in it self guarantees nothing, when it comes to art.  My artwork, certainly has originality, but when it does not sell, and is  unknown in the art circles, who besides myself can give it value?  That is where recognition comes in.  When the artwork, somehow finds a way out of basement storage  into the view of art critics, and or art appreciation circles, then comes the opportunity for recognition. So, originality may bring opportunity, which leads hopefully to that phantom word, success.

This originality in this art is the foundation that may eventually lead to recognition and then success.  What recognition, means to me, is the changing definition who I am.  It is this transition from  Scott the IT guy that works at a local paper company, to Scott the Artist that eventually becomes know, beyond local contacts. Then with a career eventually focused entirely on art, hopefully I can create a number of small successes that it can push me further along.

Success finally leads to freedom and greater self discovery, which can end with living the dream, but in many of the lives of artists the tragic opposite has occurred.  For me, my whole life has been about, finding the way.  Now, that I have decided that Art is the way, there is no turning back no matter the overwhelming risks.  I am all in, and what happens, will happen if I am good enough to make it happen.  We shall see.

At this point in my life, there is this realization  that if I am to live the dream the time to reach this goal is somewhat limited by my age. It does not take much research into the lives of successful artists to understand that it can take decades to get recognition of their work beyond friends and relatives.  So that is a reality check.  I will take the time that is given to me, and try to make the most of it.  Although, writing blog entries does take me away from painting, I am discovering that it has made me slowly, a better writer. That also was once the dream to live the life as the  next Ernest Hemingway.

I will have more thoughts on this, but I would like to pause this line thinking (just go with it) and respond to this quote I heard today: In a segment of CBS Sunday Morning, about the artist Ai Weiwei, Kerry Brougher the Chief Curator at the Hirshhorn Museum said this:” His works are filled with questions. That is what great artwork does. It raises questions.  It doesn’t necessary answer them for you.  It makes you have to think about things” (my transcription. I regret the commercial. Go to just after 6 minutes for the quote).

First, the only show I know that consistently has segments on Art is CBS Sunday Morning. You can see people murdered all day long on multiple channels but the great many stories of hundreds of outstanding Artist is rarely being told.  So, I enjoyed this six-minute break.  Ai Weiwei, is a good artist that deserves recognition and success. Now, for the quoted lines from Kerry Brougher,  they make sense, and they make me stand back and look at my work, and wonder, what  questions  does my art offer?  Let me put it this way, this art is about displaying music without actually displaying real music.  Hum? That should raise some questions. If this art is about music, but is not music, what is it?  I am not sure. No wonder no one recognizes me. My art is an enigma.  I guess that sums it up. Hum? As far as Kerry Brougher’s line “It makes you have to think about things,” that is true about a lot of things, and not just art. I think about things all day long at work, that have nothing to do with art, so really does art have to make you think.  I am thinking most people would rather feel art.  In Mr. Weiwei’s situation, well explained, maybe the way to understand his art is to feel it from the perspective of his life in China.  That is good for him, but what about me.  My life is fairly ordinary, so in my case, to fill my artworks with questions, I need to do it emotionally, and that is why I paint music. OK  whoopee.  Here then is the issue with my art:  if a viewer understands music they try to analyze the flow of the notes across the canvas, which misses the emotional point of this art. If you do not read musical notation and have no clue what music it is, can that viewer feel the music it is depicting  just by looking at it? The answer is yes. This art is about music. And music stirs great emotions in billions of people.  And this art speaks to that, and if you see the music in the art, your hooked.

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 The Heart of the Matter image2,3&4

Heart of the Matter a 3 panel work 30 inches by 8.5 feet in length.

Thoughts to oneself:  every painting wants to be the best.  They want everything.  No compromising.  No second best. They will steal from the rest, and then claim originality. They all are looking for that edge.  The search for that special look, is their quest, and their hunger.  No shyness. No fear of failure, for they know no none of that

Listening to Sparkling Diamonds – Nicole Kidman – Moulin Rouge

Now listening to Ridin’ High – 8 Ball & MJG followed by the Big Booper and Chantily Lace. The movement between image 2 and 3 is largely in the center area where the push was to bring more browns and brown tints into this area to pull this base somewhat closer to the original album artwork.  The artwork colors are always going to go the way of what works for the canvas, but since this music, unlike most of the other canvas, is tied tight to the music of Don Henley the base does show some influences.

Ella Fitzgerald – Satin Doll

This background is very dense.  Not sure that makes sense, but it does rhyme.  The colors are muted, but they certainly are expressive.  I had to walk over and take another look and the center,  zooms across the eight plus feet of this work.  These small reproductions are fair representations, but it is the size of the real artwork that needs to be seen, to clearly see what is going on with this background. This artist likes the browns, but they are not going to be a priority when this music is added.  You can see in the lines, with their use of a lighter blue, the shades of violet, that there is going to be big changes to come.

Elvis Presley – Funny How Time Slips Away.

The outlines of the beams are in place, so the next question is what colors to use.  Since the music of Heart hits you gently  throughout, a similar color theme that was used in  More was considered a possibility,  but not convincingly.
In the book 1001 Paintings You Must See Before You Die (a wide, wide range of works, with small reproductions)…… there is an image by Francisco de Zurbarán,  titled, Still Life with Lemons, Oranges and a Rose that can be seen in person at the Norton Simon museum in Pasadena. A passage in the book gives this description of the artwork, “The soft yellows, oranges, pinks, and greens……” Those colors are not unusual for classical artworks, but just their mention together,was enough to become the obvious color pallet  for this music.

Listening to:  Bon Jovi – I’ll Be There For You

Chopin: Waltz In C Sharp Minor, Op. 64/2, B 164,  forever a favorite.

Wild Wild West – Escape Club.  It happens to play at the right time.

The Heart of the Matter image 4, the colors that appear in these images, have been pushed to far to the red side.  This is the third day on this one blog post, and the mood is “..just what is going on with that background?….”     But first, the image above, shows the first few layers of colors that are the themes for the beams.   As you see above these colors do not look like any of the colors from the Francisco de Zurbarán painting, but I would like to point out, Zurbarán, (dead for 347years) probably would not have any issues with that.  The circle parts that sweep through all of those regular boring rectangles, are a carry over from More.   They are there because they create a wonderful……..

Chopin Nocturne Op.9 No.2  To good not to listen, ….carefully.

…they create a wonderful…affect in that they push this image across this canvas.  This one styling technique is a keeper, similar to the rounded notes.

This artist is tired, and need to regenerate.  Tonight, it is hoped more of the beams are colored, and that a peachy-pinky color might work for the circle parts.

Finishing this blog with Tom Petty –  To Find a Friend.

Scott von Holzen