Took at least until 9:30 on Sunday to arrive at my workplace. Put a bunch of masonite panels on a table and Sat Down to work on them. This felt good, even if my fingers were chided with chiblains.
I am reminded (actually I looked it up on Wikipedia) 0f Mary Shelley’s comments in Part II of her Rambles in Germany and Italy:
Were I exiled, perforce, I might repine, for the heart naturally yearns for home. But to adorn that home with recollections, to fly abroad from the hive, like a bee, and return laden with the sweets of travel-scene, which haunt the eye — wild adventures, that enliven the imagination — knowledge, to enlighten and free the mind from clinging, deadening prejudices — a wider circle of sympathy with our fellow creatures; these are the uses of travel.
Sitting down to work was not as exhausting as standing up and bounding back and forth between far wall and open doors. I can still keep the doors to the south open, even at these temperatures, because the sun storms in while the wind whistles from the north, behind the barn. I closed off the other half of the studio today, so the sun heating the concrete floor would stay where I was working. And I Sat Down.
[It is a truth universally acknowledged by English majors and other literate agents that one should not Capitalize (just as one should not use italics) lightly. So I don’t. I only capitalize to emphasize. So there!]
The panels got something like a final treatment today. I could line up four on the table and one on the easel beside the table, and I knew what I was working for and what I wanted.
The Amargosa Desert, (Masonite Panel #7), 12 x 16″, oil on masonite, 2009
This panorama isn’t quite what the wall linens will look like, but it gives me some ideas. Looking at a photo I took the other day, late afternoon, I realized that long shadows, from the far off Grapevine Mountains unseen and north of the hills pictured here, threw their shadows across the basin. The possibilities for contrast were irresistible. I can see that on next working I will need to extend the shadows a bit to the right, but that’s easily done.
I redid all the panels, correlating them, if you will, lining them up on the table and blending the colors and the shades.
The Amargosa Desert (Masonite panel #1), 12 x 16″, oil on board, 2009
The panels run, as usual, from east to west and from cool to warm in color. The furthest point of the desert appears in Panel #2, with the next five coming up the valley to culminate in panel 7.
This scene isn’t like the Diamond Grade panorama — there’s a greater “darkness” — contrast if you will — in the desert scene. In addition, the Diamond Grade was done in August; even in Nevada, November is different in its light and its darks.
These are Jer’s photos. I was so slow and laid-back Sunday morning, I forgot my camera. We had the usual problems with glare and lighting, but I’m pleased with what I accomplished. I came back home to Beatty an hour earlier than usual and was almost gleeful with both energy and results of the day. –June