Friday, December 31, 2010
At the end, he wrote about discipline to keep ourselves motivated and inspired. Here is the direct quote from the book, which I completely agree:
"In my experience, there is no foolproof method for continued artistic growth---except to consistently put yourself in front of projects that interest you and to keep painting. Most artists will testify to the fact that whatever skill and success they have achieved, they achieved largely through tenacity, consistency, and hard work. Momentum is powerful. The longer I don't paint, the more inertia I must overcome to pick up my brushes and get restarted. When I paint more frequently, I gain momentum and am more inspired to continue."
I think I just need to keep painting to get to the next level and beyond.
Saturday, December 25, 2010
Now I just need to finish the midground snow then branches of the bush in the shadow. And I would be done with this piece. Hopefully I can finish it by the end of the year. I might change my mind and put this on the upcoming small show at a Starbucks in Georgetown in January.
Wednesday, December 22, 2010
Sunday, December 19, 2010
I started toning the body of the black horse. To see the color/value contrast, I made the dried grass lighter. The value or color value of the tanker might be tricky because one house is dark but the other one is light.
Saturday, December 18, 2010
Friday, December 17, 2010
Wednesday, December 15, 2010
Friday, December 10, 2010
Friday, December 3, 2010
This trip was for my day job. However, I squeezed every part of Thu and made a 2h window at night when the admission was free.
I don't exactly remember when I was there last time. Probably about two years ago or more. They changed the room plan quite a bit. I guess it happened when they opened the new modern wing last year. Unfortunately I didn't have enough time to visit the new building last night. Or maybe because it took me additional time to figure out where the all impressionism paintings were. Then when I finally figured it out and walked through the stretched section, I felt something strange, which I never felt in the past for more than 5 times of visits. They didn't make me feeling much admiration this time. The colors are the same as before for Monet's haystacks, poppy field, waterloo bridge, Degas' millinery shop, dancers, Pissaro's landscapes, Renoir's girls, women, and so on and on. Nothing has changed on them. The change happened to me instead, which I came to understand while browsing American Art section when I was looking for after-Civil-War era landscape paintings.
I've been learning more and more color making and value placing based on modern realism. I'm not intending to do any more exactly like the impressionists did more than a century ago. I know I still need to learn a lot more from their master pieces. That's for sure. But...
After I left the AIC and sat at a table in Bennigans, watching the entrance of the AIC through the window, a little sadness came to my mind and Sam Adams tasted a little more bitter than it should be.