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(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

S_V_H Baby Love image2&3

Baby Love the 1964 hit by Diana Ross and the Supremes, two foot by 6 foot canvas.  Certainly you can see this image has similarities with this years Birthday painting. What is difficult to see is the similarities between image 2 and image 3.

This art is evolving with each canvas in search of a unique style for displaying a unique theme.  A  question that bothers is what happens when you find that unique way of expressing  paint on canvas?  Here the wonder is what went on in the minds of Jackson Pollack and Mark Rothko when they new that they had found their own styles.  Pollack best drip paintings occur around 1948 to 1950, judging that from the book Jackson Pollack, that was part of a 1998-99 exhibition of his works at the Museum of Modern Art. Rothko’s style found its moments, again around 1948, and truly hit its signature look in the 1950s. Strange, paging through Mark Rothko The Works on Canvas, is that the last painting pictured, done in 1970, looks similar in style to those done in the early fifties.   So it appears that every style, even your signature style,  can either run its course quickly as with Pollack, or in the case of Rothko, be repeated and tweaked for twenty years. Just thoughts, for at this moment nothing is preventing this artist from going in any direction.  And I mean nothing.

Listening to Mozart piano Concerto No. 9.

The background is done, so tonight the music is going down.  What will be interesting, and the challenge for this artist is how to make the music stand out from the background, or not how to make the music stand out, but instead how to get it the melt with, or merge into.

Also, since Baby Love pretty much was recorded only by the Supremes, I have decided to steam the music from Pandora with stations created for the Supremes, the Animals, the Beatles, The Association, and maybe a mix of other 60s girl bands and a chunk of Motown to round thing off.  The music sets the mood for the painting.

Coldplay In My Place.

Scott Von Holzen