In the review and commentary I read about this painting, much is made about the isolation or detachment of this figure from the viewer. But this isn’t how I experience the painting at all which might be why I was compelled to take this close up.
I was drawn into this painting with almost the embarrassment of having walked past a street-level window where the curtains were pulled back giving me a glimpse into the private lives of the inhabitants. But there was a place to sit nearby in the gallery museum and still view this painting. So I sat. The more I sat, the more comfortable I became with having been invited into this intimate space where no explanation or attention needed to be given or offered to the viewer. I began to feel the familiarity of routine, the privacy of my own thoughts shared in this mutual space with the painter and the figures. The painting’s many soft edges creating a sensory seeing, a visually constructed and imagined view all at the same time. These morning rituals, as we know, are often repeated and yet time can never be sustained. The outside world will beckon with its demands and we will, finish our tea, put down our paints and face the day with whatever it brings and asks of us. But, for as long as I can keep my eyes within the frame of the painting, nothing but this private interior moment is required of me - or of them. What a gift!
How do you experience this painting? The same or different?
Now for our final painting of this threesome art study…
I have been examining a detail of a painting from the show by an artist that really needs no introduction in my posts - Emily Carr. The whole painting is only 16 x 22 inches and this is 2/3 or better of that. Emily Carr’s tension between form and light and shadow never fails to intrigue me. This work is a perfect example of putting down a brushstroke and leaving it alone. The results are invigorating and embrace the essence of our west coast landscape.