Lyricism

There are a lot of highly competent realist painters working today. Many can render incredibly complex subjects with astounding detail and clarity. But most of their work is too mannered, it has an artificial or stilted quality. Much of my early work fits this category - it lacks lyricism. Defined by the dictionary lyricism is an exuberance of style or feeling. One can't artificially inject this quality into a painting - it has to appear naturally.

Female Nude, oil on linen,  8" X  10", 2007
Collection of Amy Satterthwaite

There is nothing like working from a live nude to force an exuberant approach to painting. Regardless of the subject I now work a canvas with a more direct and aggressive style. Urgent but disciplined brush strokes individually and collectively can convey an excitement and flair with the best efforts achieving a delightful lyricism.

The Wave

Latching onto an exciting project is to a painter what catching a good wave is to a surfer. It grabs you and takes you along for the ride. The power of the wave, not you, is in control. One has to remain alert and focused to stay in the sweet spot and maximize the ride. Get too far out in front and the wave will crush you. Fall back and you will watch the crest roll away without you.

Watermelons VII, oil on canvas, 26" X 30", 2015

This is the completed painting featured in my post of September 25. Work on it encompassed nearly a month. The perishable properties of the subject required both brief and extended painting surges.

On a long term painting the initial swell of energy almost certainly won't carry you to the finish line. But if you can draw on the early excitement of the first wave it can serve as inspiration and nourishment to bring a work to completion.

A Different League

All last summer I painted from a group of non-static and highly perishable subjects. The petals of magnolia blossoms opened as I worked. Leaves of the watermelon plants curled and faded before my eyes. Even the flesh of a sliced watermelon lasted at best two painting sessions. The urgency and directness required to capture these subjects closely mimicked working from a live model - or so I thought.

Nude Study, oil on canvas, 13" X 12", 2015

In reality my summers efforts weren't even in the same league of difficulty. The above image marks my first attempt at figure painting after a two month gap. The experience was by far my clearest realization confirming the value of figurative work. As a learning tool there is simply no substitute for the rigors of the live figure.

Seasons

Halloween is just a couple of weeks away. A painter friend of mine has around his studio a good inventory of appropriately themed paintings - pumpkins, black cats and such. He obviously anticipated the fall season and set to work some time ago.

In contrast I spent the last six weeks working on watermelon still lifes. I planted the seeds in the spring and am just now realizing the fruits of my labor. (Or is it the labor of my fruits?) So now as the air cools and the leaves change color I have paintings around the studio specific to high summer.

Male Profile, oil pastel on toned paper, 9 1/2" X 7 1/2", 2015

The above drawing done at a recent figure session is the best I can do to honor the current season. A profile lit from below. It's at least a little spooky don't you think? BOO!

Reentry

I have spent the last four months painting in near isolation. With the exception of a couple of artists braving the stairs and heat, my studio has been a solo inhabited tropical island.

In January of 2015 I began hosting Fredericksburg figure drawing. The meetings were suspended for the summer due to the heat. As fall approached I sent out notice that the sessions would resume. I was looking forward to welcoming the group back to my studio.

Nude Study, oil pastel, 9" X 11", 2015

Last Monday twelve artists plus a model landed on my outpost. Reentry was a shock. From my vantage point the session went well but I wasn't prepared for the chaos and unpredictability of civilization. That night I couldn't sleep with my mind still racing from stimulus overload. If the past is any indication I will adjust and ultimately draw inspiration and warmth from the group.

Eclipse

Stretching and priming canvases is time consuming and costs money. This being the case I often reuse surfaces of failed or abandoned paintings especially when they haven't progressed too far. A year or so ago after starting a painting with a model I decided the subject warranted a larger canvas. The abandoned effort has been leaning against a wall waiting for a project. It proved the most appropriate size for this watermelon painting. (My own summer crop by the way). Perhaps I should have stopped right here and started a flesh and fruit series.

Day one, Watermelons,  oil on canvas, 26" X 30"

Studio interior, September, 2015

Totally by accident I have been presented with a perfect physical metaphor. I chose this canvas solely for its size oblivious to the existing image. It wasn't until I took these photos that the juxtaposition made itself obvious. So still lifes are eclipsing my figurative work … literally.

Inner Voices

For the better part of the last four years the human form has been the only subject that stirred my artistic passions. Only now as I take a step back from the figure can I see this period of time with any clarity. I was motivated, even obsessed, with the notion of becoming a competent figurative painter. Any rationale behind this quest came from a purely emotional place.

Male Nude, oil pastel, 9" X 8", 2012

The decision to "go figurative" was purposeful but I can't honestly say I had any choice in the matter. Throughout the years I have always followed that inner voice directing me to the next challenge. I can't say this voice has led Bruce Day the painter to any noble path or destination. In fact I have gone down some awfully dark dead ends putting too much faith in intuition. Some honest contemplation and skepticism are warranted when you start hearing voices.