B3
B3...
Behold "Barack 3" as a work in progress. Having some camera-interface trouble so this image is a bit old. Much has since been done, although I've kept a lot of the roughness you can see in the image. That said, I cleaned up most of the white area, added a few details, gave him a lovely tie, inscribed the title across the top, etc.
FYI--B3 is a small painting, done on commission for a couple whose names--as is typically our wont here at The Year of Magical Painting--shall remain unrevealed. It measures 24x30. Inches.
Imagine how cool if it was twenty-four by thirty feet! Here's a close-up to help you envision:
Back to the roughness business, I like how this one reminds me, sort of, of that big bronze bust of JFK at the Kennedy Center.
An engaging juxtaposition, if I do say so myself.
Regarding the topmost image, I forgot to color correct it before posting it, but the white background is actually white. And the president is actually black. Despite the yellows, reds and blues.
Back to the purchasors. I like the "O" in purchasors even though my spell check doesn't. The way things happen is this: you get an email out of the blue; you have a telephone conversation; you meet for lunch or a snort; you schedule a studio visit; the studio visit goes well; you take a deposit; you paint the painting; you deliver the painting, heart in mouth for fear that they'll say something along the lines of "Your work is crap, my friend. Keep the freakin' deposit. No way we're taking delivery"; then you wait for the next email.
My first meeting with ... let's call her Simka ... happened at Elmo, by the way. Which, really, is the epicenter of much of what passes for the spectacle of Geoff Raymond these days. And I like the circularity of that.
And speaking of Elmo, I was eating brunch there on Sunday and an Elmo person asked me if I still wanted to paint her portrait (we had discussed the matter about six months ago and I had assumed she had decided to take a pass--which is okay, by the way). Now I haven't heard from her and I'm thinking she's still decided to take a pass. Which is okay, by the way.
Although I do have one recurring painting fantasy (actually I have a number of them, including painting my own chapel like my boy Matisse): I'd love to do a fourteen or so foot, two panel reclined nude (semi-nude) of an Elmo person, then talk them into a show called "The Women of Elmo."
The reclined nude might look something like this:
It goes over the bar. Can you imagine? I'd actually use this one (it has an Elmo connection), except it's too big. I do love this painting, by the way. Although, in a perfect world, I'd have given her breast just a skootch more fullness. The silhouette is too flat.
I had, by the way, just gotten back from seeing the Gauguin show in Boston when I painted this. If you use your imagination you can see his influence on the left panel.
Behold "Barack 3" as a work in progress. Having some camera-interface trouble so this image is a bit old. Much has since been done, although I've kept a lot of the roughness you can see in the image. That said, I cleaned up most of the white area, added a few details, gave him a lovely tie, inscribed the title across the top, etc.
FYI--B3 is a small painting, done on commission for a couple whose names--as is typically our wont here at The Year of Magical Painting--shall remain unrevealed. It measures 24x30. Inches.
Imagine how cool if it was twenty-four by thirty feet! Here's a close-up to help you envision:
Back to the roughness business, I like how this one reminds me, sort of, of that big bronze bust of JFK at the Kennedy Center.
An engaging juxtaposition, if I do say so myself.
Regarding the topmost image, I forgot to color correct it before posting it, but the white background is actually white. And the president is actually black. Despite the yellows, reds and blues.
Back to the purchasors. I like the "O" in purchasors even though my spell check doesn't. The way things happen is this: you get an email out of the blue; you have a telephone conversation; you meet for lunch or a snort; you schedule a studio visit; the studio visit goes well; you take a deposit; you paint the painting; you deliver the painting, heart in mouth for fear that they'll say something along the lines of "Your work is crap, my friend. Keep the freakin' deposit. No way we're taking delivery"; then you wait for the next email.
My first meeting with ... let's call her Simka ... happened at Elmo, by the way. Which, really, is the epicenter of much of what passes for the spectacle of Geoff Raymond these days. And I like the circularity of that.
And speaking of Elmo, I was eating brunch there on Sunday and an Elmo person asked me if I still wanted to paint her portrait (we had discussed the matter about six months ago and I had assumed she had decided to take a pass--which is okay, by the way). Now I haven't heard from her and I'm thinking she's still decided to take a pass. Which is okay, by the way.
Although I do have one recurring painting fantasy (actually I have a number of them, including painting my own chapel like my boy Matisse): I'd love to do a fourteen or so foot, two panel reclined nude (semi-nude) of an Elmo person, then talk them into a show called "The Women of Elmo."
The reclined nude might look something like this:
It goes over the bar. Can you imagine? I'd actually use this one (it has an Elmo connection), except it's too big. I do love this painting, by the way. Although, in a perfect world, I'd have given her breast just a skootch more fullness. The silhouette is too flat.
I had, by the way, just gotten back from seeing the Gauguin show in Boston when I painted this. If you use your imagination you can see his influence on the left panel.
posted by Geoffrey at 6:36 AM
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