Motive Force: Step 3
After stretching and priming the canvas as I have described in earlier studio posts, I used a grid to transfer the scale sketch onto the canvas. Some people seem to think that this is cheating, but if the purpose of the scale sketch is to get every detail of the composition just right, then why start over on the canvas where the sketching is more difficult and erasing is even more so? A stretched canvas is a delicate thing, and if you want it to last a long time, you should mess with it as little as possible.
Once the sketch on the canvas was complete I painted the sky…the most extreme background element. To add a sense of vastness to the background and size to the train I let the high level clouds loosely recede back to the same vanishing point as the tracks.
October 13th, 2004 at 2:30 pm
Mr. Larsen,
I enjoy the theme of the painting. However, in the original I feel as if the focal point of the painting was in the center, on the woman (Dagny). In the reproduction, I feel as if the focal point has changed positions, which would be the woman (Dagny)in the corner. Thus I feel as if I am staring at a corner, or a small piece of the painting as a whole instead of staring at the center and seeing the painting in full. Is there a reason for the movement of her position? Other than this question, I am eager to observe the progression.
October 20th, 2004 at 3:45 pm
Thanks for the question Jason.
I had several reasons for changing the position of the figure. First off, the original composition was too static and lacked a sense of scale with respect to the train. Moving the figure into the diagonal line through the image created by the rail adds excitement to the composition and adds visual flow. Second, once I removed the burning oil derricks from the original drawing, the composition became unbalanced with all of the important elements on the right side. I had to move the figure left to regain that balance. Third, by re-arranging the composition in its current configuration I am actually able to paint the figure larger than it would have been had the change not been made. As for your concern that you are staring into the corner of the picture, maybe this will help: When you made this observation you were looking at a very simple line drawing of the image. As such, the composition had no depth or contrast at all allowing the image to function as a two-dimensional surface. When viewed this way, the figure is indeed in the corner. As the painting is completed it will begin to give the illusion of three-dimensional space. Once your brain makes the adjustment, the figure appears to be closer to the viewer as opposed to in a corner. As you observe the continuing progress of the piece, I am confident you will see what I mean. I hope this helps. Please let me know if you have any other questions.