I worked on River Watcher and Night Watcher (see the previous post) concurrently, switching off as one dried enough to work on, and then the other did. Each time I switched – rolling my taboret cart from one to the other, shifting the left-hand easel (River Watcher) to fit the taboret between or beside each piece – it was emotionally difficult to leave the one I was quitting. But I’d gamely work into the current piece, and eventually be reluctant to leave that one! Guess I’m a bit obsessive.
I have a penchant for the 19th-century visual sense, both the popular esthetic and the experimental high art of the time, and it’s showing more and more in my painting. Maybe it’s hokey, but it’s me – at least for the time being. The figure in River Watcher is from the same photo shoot, same cemetery in Manchester, NH, as the one in Night Watcher – another muse-like beauty. She’s placed beside the Susquehanna River in Endicott, NY.
This is the first piece I’ve done, since childhood, which features an expanse of water, and I’m quite pleased with it. A lot of the underpainting is left to show, and I like the resulting depth.
River Watcher presented more challenges than the previous piece, as you can see in the progression below.
Click in any of the tiled photos below, to switch to a slide show of progressives. To exit the slide show, click the small X in the upper left corner.