Author Archives: CP

The Musician Goes Spelunking

The Musician Goes Spelunking, Oil on Canvas, 36×36

I’ve been working full time since the Fall Art Tour and doing much painting has been an impossibility. However, I wanted to post this large work, a nod to the many interpretations of Orpheus and Euridice in the history of art.  I haven’t touched it for a couple of months, until the last few days. It is pretty well developed.

I’ve been reading poetry with Orpheus as the subject lately. I would like to post a poem I love by a poet I’ve only just discovered.*
I Dream I’m the Death of Orpheus
by Adrienne Rich
I am walking rapidly through striations of light and dark thrown under an arcade.
I am a woman in the prime of life, with certain powers
and those powers severly limited
by authorities whose faces I rarely see.
I am a woman in the prime of life
driving her dead poet in a black Rolls-Royce
through a landscape of twilight and thorns.
A woman with a certain mission
which if obeyed to the letter will leave her intact.
A woman with the nerves of a panther
a woman with contacts among Hell’s Angels
a woman feeling the fullness of her powers
at the precise moment when she must not use them
a woman sworn to lucidity
who sees through the mayhem, the smoky fires
of these underground streets
her dead poet learning to walk backward against the wind
on the wrong side of the mirror.

1968I’m also reading Rainer Maria Rilke’s Sonnets to Orpheus. Rilke is an old favorite of mine, probably due to the fascination Greece and the Ancient World exercised generally over the 19th and early 20th Century German thinkers, poets, and musicians. (There is a connection between Nietzche, Rilke and Sigmund Freud in the person of Lou Von Salome, who as a friend and sometime lover, was what one must call a Muse to them all. Those who are interested in the personal lives of these creative people, however fantastical, might want to check her out.)

“The Musician in Mourning” will be appearing in The Best and the Brightest Juried Show and The Celebration of Fine Art in Scottsdale, AZ from January 15 through March 28.

The Musician in Mourning, Oil on Canvas, 18×18
*The poem refers to “smoky fires” and “underground streets.” I personally believe in the simple Biblical statement that “as for the dead, they are conscious of nothing at all,” (Ecclesiastes 9:5) and that our hope for future life lies in resurrection.
The Musician Goes Spelunking, Oil on Canvas, 36×36, $1400 USD
The Musician in Mourning, Oil on Canvas, 18×18, $900 USD
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Coconut Macaroon Pie with Chocolate Sauce

I’ve been snowed under with my other job lately, so I haven’t blogged in a while. However, I have been gathering the photographic references for the Odysseus-inspired painting I want to do. It’s been a difficult summer weather-wise, hard to get together with my models in the right lighting conditions. Now it’s late autumn. The sun is low in the southern sky, whereas the photographs I took of the pig, Elroy, were taken at the height of the summer when the sun was many more degrees towards the zenith. Either I put the project off for another season or I use my imagination to harmonize the lighting.

The painting above is a revision of the one I originally blogged on May 21. I was never happy with the whipped cream, which melted and lost its contours too quickly for me to paint accurately. I tried several times. So, because the painted garnish was so thick, I ground it down with a cuttlebone, procured from PetSmart, repainted the top of the pie and drizzled chocolate over it instead. The plate and the doily are unchanged.

Here’s a poem by A.E. Housman from A Shropshire Lad. It seems fitting for a November day.

XXXII

From far, from eve and morning

And yon twelve-winded sky,

The stuff of life to knit me

Blew hither: here am I.

Now — for a breath I tarry

Nor yet disperse apart —

Take my hand quick and tell me,

What have you in your heart.

Speak now, and I will answer;

How shall I help you, say;

Ere to the wind’s twelve quarters

I take my endless way.

Chocolate Macaroon Pie, Oil on canvas panel, 5×7, $110.00 USD

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Color Study of Geneia and Pelee

I have been working so much lately that I haven’t painted as much as I need to. A while back I blogged my Black and White Study from the Equine Painting Workshop. I’ve repainted Geneia’s face since then because I wanted it to actually look like her, so I’m posting it again. I’ve now finished my color study, at least for the moment. I may end up making revisions after I’ve had a chance to live with it for a few days. I added a rock outcropping to the background, because the field in the original photograph was too boring. I’ve left the rocks unfocused-looking, so ithey don’t distract from the main figures, but Geneia’s face is entirely in shadow, which makes it a challenge to draw attention to it. I will ponder the problem.

Now, I will go back to my Greek Myth paintings.  In a few weeks, Matt and I will be traveling to Maine and Quebec. I would sooooo like to hit the Boston area on the way there. I’ve always wanted to visit the haunts of Nathaniel Hawthorne (click on link…..hello), especially the actual House of Seven Gables. The novel fired my imagination in highschool, not all of it perhaps, but definitely the riveting chapter about Alice Pyncheon, where she is hypnotized by the handsome grandson of the man unjustly accused of witchcraft and burned at the stake by Alice’s grandfather. (I’ve always wanted to see House made into a movie, where Rufus Sewell plays both the mesmerizing Matthew Maule and the daguerotypist, Holgrave, and Ian McShane plays his father, Thomas, who is done out of his land and his life by the greedy Colonel Pyncheon.) Hawthorne wrote the novel as a sort of expiation because one of his ancestors was involved in the Salem Witch Trials. I also want to visit the Old Manse, where Hawthrone lived with his bride (lucky girl), Sophia Peabody, one of the intellectual Peabody Sisters, the one who was an artist…..

There’s been no poetry of late in my blogs, so I will get back on track with Edna St. Vincent Millay:

XVI

Once more into my arid days like dew,

Like wind from an oasis, or the sound

Of cold sweet water bubbling underground,

A treacherous messenger, the thought of you

Comes to destroy me; once more I renew

Firm faith in your abundance, whom I found

Long since to be but just one other mound

Of sand, whereon no green thing ever grew.

And once again, the wiser in no wise,

I chase your coloured phantom on the air,

And sob and curse and fall and weep and rise

And stumble pitifully on to where,

Miserable and lost, with stinging eyes,

Once more I clasp, — and there is nothing there.

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Spelunking and Cheesecake in Progress

This Orpheus Painting is much larger than the other, 36×36. The Cheesecake painting is a commission. I’m allowing it to dry because I need to drizzle some strawberry sauce onto it and paint that, but I thought I’d blog the underpainting anyway.

A few blogs ago I mentioned my  painting inspired by Circe, Odysseus and the pigs.  I had found some pigs on Hwy M, south of Verona.  Well, I’ve been past their paddock 4 times and never again found them outside. Did I mention that they were an hour’s drive from here? (I’ve even tried calling “Suey!” to no avail.) Perhaps they aren’t even there anymore. I could of course stop by the house again and ask, but no one would be home until evening and by that time it would be too late in the day for photography because I wanted bright sunlight. So, I’m on the search for more accessible pigs and have located another. This one lives in the country around Mineral Point, so it should be easier to get to.

An exciting opportunity has come up. The State Representative for our district, Steve Hilgenberg, is going to be hanging the artwork of artists from his district in his office in Madison. My time slot is January 20 to February 24, 2010. It will be another opportunity to get my paintings out in the public eye.

I’m also trying to arrange to go to an Equine Painting Workshop with a wonderful Equine Artist, Lynn Maderich, scheduled in Minneapolis at the Atelier Lack in Minneapolis. (The thing needing to be arranged is free lodging at the homes of friends and relatives. More on that later.)

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The Musician after the Descent

This is the final picture, with the guitar strings and the frets etc. painted. I’m really loving this project of painting a response to the Greek Myths. I was a Greek student in college and have had the enduring intention of incorporating that love into creative work. My central interest has always been the Trojan War and I spent years researching a novel and writing 30 chapters of novel with the Trojan War as its theme — who knows when I will have time to get back to it! — but in the meantime I’m able to have fun with these literary allusions in modern dress. (See my posting of May 2, for the exact reference to the Orpheus Myth portrayed in this picture.) I’m in the process of doing a larger painting in response to Orpheus and Euridice “before the descent,” which I will blog in progress soon.

In the meantime, here’s a poem by Rainer Maria Rilke (who wrote a number of poems about the Greek Myths as well). I think it applies well to this painting.

LOVE SONG

How am I to contain my spirit lest
It touch on yours? How lift it through a space
Higher than you to things environing?
Oh, I should gladly lay it by to rest
In darkness with some long-forgotten thing
At some outlandish unresounding place
Which won’t re-echo your deep echoing.
But all that touches you and me comes so,
It takes us jointly like a stroking blow
That draws one voice from two strings by its tilt.
Upon what instrument then are we strung?
And by the hands of what musician wrung!
Ah, sweet the lilt.

Rainer Maria Rilke

Orpheus After the Descent, Oil on Canvas, 18×18, $900 USD

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The Musician after the Descent in progress….

 

It’s amazing how quickly a painting can come together with just a few hours of painting. I’ve decided to walk away from After the Descent so that my eye can view it afresh, before I finish it.

I was so relieved to have found some pigs for my Traveling Salesman (Odysseus) painting a couple of weeks ago. Yesterday, I drove the 45 minutes to their location, hoping to take my photographs. The sun was high; the light was good. The pigs weren’t out though. I didn’t know what to do beyond wait a few minutes outside the pen. No one was home up at the house, so I didn’t know what I could do beyond that. Getting pictures of these pigs may be harder than I thought. Now that weather’s grown warm, they may spend all their time sleeping in their barn. It’s a little out of my way to run up there very often, so I may have to start working on something else next.

Here is an extract from a poem, The Heart, by Francis Thompson. I’ve known the last two lines in particular for years and used them as a chapter heading for the novel I’ve been working on.

Correlated Greatness

O nothing, in this corporal earth of man,
That to the imminent heaven of his high soul
Responds with colour and with shadow, can
Lack correlated greatness. If the scroll
Where thoughts lie fast in spell of hieroglyph
Be might through its mighty habitants;
If God be in His Name; grave potence if
The sounds unbind of hieratic chants;
All’s vast that vastness means. Nay, I affirm
Nature is whole in her least things exprest,
Nor know we with what scope God builds the worm.
Our towns are copied fragments from our breast;
And all man’s Babylons strive but to impart
The grandeurs of his Babylonian heart.

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To a Dead Poet

My mom had surgery to replace her pacemaker this week, so I was with her rather than in my studio this week. Therefore, instead of a painting, I wrote a poem about my belief in resurrection.

To a Dead Poet

When I recall those ‘biding in the dust,
inheritors of their swaddled parents’ trust
in falsehood’s anodyne, when earth was old
but life was young, to them the Lie was told,
retold, passed-on, established as a creed,
“They would not die complete;” they would not bleed
their thoughts into the ground along with skull
and entrails, so it went, no mortal end annul
their disembodied Self’s escape. Did you
believe it so? Despite or perhaps in lieu,
you scrawled your heart’s estate in verse, your nous
in ink, inhered in this, your life’s excuse,
and I have read your words, dear pilgrim fool.
You spoke to me through them. Lest ridicule
befall me for my expectation of
your reappearance in the flesh, my love,
I pledge that from within my grave I’ll wait
the waking of us both, to each, Heart’s Mate.

NBH