Self Portrait of the Painter Painting S. Maria della Salute, Venice

In the previous painting of the Zattere vaporetto stop I proposed one can learn to read a painting like learning to reading a book or to calculate numbers. Think of this small painting of Zattere as a short story not a painting. That is the first step to seeing a painting. First the location is known with certainty --- the vaporetto stop at Zattere, Venice. Second one knows it is a vaporetto by the presence of the bow line. If you do not know the name of the knot, how about "bowline on a bight." This painting even has poetry! Final an insight to be answered, what time of the day is this?  Look at the shadow of the line. Mid morning or mid-afternoon --- depending on the orientation.

Above is a second but surreal story line.  This is a my self portrait of a young painter painting Santa Maria della Salute in 1964. The painting is painted in 2015 on the Fondamenta in front of San Giorgio Maggiore. I first visited Venice to study art and architecture after dropping out of Pratt Institute for year. So this is not really a Portrait of the Young Artist as a Young Dog.

Paintings of course do not all tell stories. Often a painting is simply a landscape scene or still life of random objects. If you want to spend more than 15-seconds looking at a single painting, look for the story first. In my next posts I will try to provide some insight into composition, color theory and various painting styles.

Thank you for looking and I encourage your comments. Ted

Drawing is Seeing

"You can draw. You just can not see." Renario Corbeletti my fine art foundation drawing teacher was looking over my shoulder in a Pratt Institute drawing studio in 1961. He later went on to be the Dean of the School of Architecture at Penn State. I went on to a 55-year architectural career traveling the world. I want to share thoughts concerning art, architecture and urban design in following posts.

I start with drawing and seeing. While we are all taught to read and write, count and calculate most of us are not taught to see and draw (or paint). An example of this can be measured by the behavior of people who visit art museums. Note that only about 3% of people n the United States visit art museums. So the observation I am about to share with you is concerning a very small portion of the population who choose to visit museums.

The average time spent looking at an individual painting in a museum is 15 seconds. This applies to a master piece as well as the random painting. Of this 15 seconds half is spent reading the small sign posted on the adjacent wall listing the name of the artist, date and name of the painting. Why? The reason is that people do not know how to read a painting.  I post a painting below I undertook in Venice and explain how to read it in the next post.

Thank you for looking & reading. Ted

Corn Flower & Yellow Finch

A Yellow Finch on a Corn Flower

Imagine that each painter actually judges each painting.  I do. This is a good one. The composition is firm --- one might argue "boring" as it is so centered. The coloration is great and the subject is wonderful. 

Finch & Cone Flower

I have posted this as a yellow Blue Bird was outside my window every winter morning past. So I need to paint him. Might make a friendly reminder that Spring will come --- hanging in your kitchen.

Daily Painting

This is a Finch hanging around the garden outside my barn-studio ---- on a Cone Flower. I suggest this is a great gift to hang on a kitchen wall in winter next. 

Daily Paintings

2 & 2/3 Lemon: This is the first of a random collection of paintings from the past few months. Most are 5 x 7 inches which I find difficult but a good exercise. 

Cut Outs

These are two color paper "cut outs" in the manner of Matisse. I find may painting to be moving in this direction --- specifically simple backgrounds and abstracted figures.
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April in Venice

How often and in which cities have you walked past a painter sitting or standing at an easel, looking into the distance trying to measure the proportion of a scene? This is rare in New York where I learned to paint. It is possible in Santa Fe and Florence and Rome, I have visited often. It is common in Venice.

Venice, for a painter is first and last light. Of course it is the ornamented architecture, sculpture, animated street and piazza life and cafes. The nature of light for a painter however as it reflects off objects and water projects color, casts shadows and covers objects that fall into shade. For this Venice is the best place on earth.

When you come upon a painter in Venice, look over the painter's shoulder. Most often there is no underdrawing or sketch. The painting process is ala prima  ---- the first stroke, direct paint to the canvas or panel --- no pencil drawing no charcoal --- just paint. The first brush strokes may be a raw umber or sienna wash to develop a composition. Be alert. This is not the classical painting you will find inside the churches and museums. This is not Tintoretto or Titian of the Venetian Renaissance ---- This is the evolution of the Impressionists not the Academie.

Piazza San Marco Pigeons

Venice is best at dawn, seen empty.

"There is nothing new to be said about her." said Henry James. "Venice is the most beautiful cliche on earth."

If a writer thinks it is difficult to find fresh ideas in Venice, think of the painters who painted Venice before us: ---- Titian, Tiepolo and Canaletto! Search Julian Merrow-Smith, Postcard From Provence ---- for a contemporary attempt. In my series I am searching for the ironic, location-specific and of-this-moment Venice.

Pigeon Observes Students Observing Pigeons

Venice vexes, annoys, disturbs and excites.

Venice is not boring.

Venice is brow-sweating hot and spine-cramping damp.

Venice is now crowded.

Venice is then vacant.

Venice can smell.

Venice can sing ----- church bells ringing over the city roofs, --- out of sync.

Venice is sinking into the lagoon that is rising over Venice.

Venice is la Serinemissa --- Venice is Serene.

No season is boring in Venice --- but pack warm after October and carry a water bottle after April.

"Painting-in-Progress"

Dancers # 1

This is the first of a series of male and female lovers relying on dance forms to express their emotions.  Here he is aggressive and grasping.  She is stretched and fragile.   The series is my work for the summer and will be available for sale in mid-September.

"Hold Me"

This is a 6" x 6" daily painting sketch.  Truth is I am on my third day!  Frankly, I concluded it is too small to get the energy I am seeking.  So I am increasing the size to 18" x 24" -- better.  I will post shortly.  Both will be for sale in September.

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 6" x 6" daily painting