This brave new setup has had the immediate effect of inspiring me to get back to work. A number of images in holding patterns have been circling my head. The most pressing is a companion piece to "The Cradle Endlessly Rocking." Like the second twin born of a quick labour, this image followed the first by mere minutes. I think our canoe might have just rounded the bend that could be viewed in the upper left quadrant of the first painting. Still bathed in light, the river remains a-gleam with blue and green-gold jewel tones. Sun-bleached cedars poke up here and there, punctuating the riverbank darknesses. Another moment worthy of commemoration.
You might be able to tell that the toning did not go smoothly. Finding an expanse of floor to work on proved futile, so I had to prep the 30 by 40 canvas outside, braving frass pellets and pregnant mosquitoes. Too impatient to wait for the red oxide oil paint to dry, I rubbed on Indian Red acrylic paint mixed with matte medium and water so that I could begin the grisaille immediately. Of course, it dried too fast yesterday, and left a few uneven patches . While none of these will be visible in a few days, the headlong rush I recognize in myself when hearing the siren call of a new painting does force me to own up to certain slap-dash tendencies. I promise myself that all subsequent layers in oil will be carefully applied. The more accurate the underpainting, the more enjoyable the final glazes.
Only the burnt umber darks have been added so far, but the river is emerging and the upper left focal point clarified. I might begin on the white highlights today as well. Great to be back.