On Tuesdays

I was riding my horse, Dolly, while bringing a few stray pairs out of a deep draw and onto the flat.  This was the spot we had predetermined the herd would be gathered. I instantly saw the other riders; some were still a quarter of a mile away or more. I recognize the visual shape of each man, how he sets his horse, his posture, and the horse’s gait, each with their individual defining silhouettes. Through all of the dust and atmosphere my mind takes in this visual image in a split second, and I realize my husband is missing. This is my sub-conscience taking in and transferring visual imaging of fine detail of what I am seeing; the shapes and tone being more important than the image.
The laws of visual analysis and thinking, in terms of composing a drawing of a visual image, is what I ponder as I begin a new painting. My resource is usually a photograph that I have taken. I know that a camera cannot reproduce as well as my eyes. Every image can be distorted and in the end leaving me with a bad composition that leads to a bad painting. It is important to me to actively go feed the cattle. Being a part and out among the subject matter I paint helps my mind’s eye absorb tiny details. My eyes take in so many of these details around me, and my mind becomes full of great ideas, colors and shapes. Picture with me as I notice the shapes and the colors of shadows and how the sun glints off the black hides of the cattle casting a red color down their back.
I am working hard to master learning visual analysis of an object or objects to the degree of which my sub-conscience becomes familiar with very fine details without even realizing it. Having an ideal image in a ideal position in ideal light is a great way to learn. Still life studies can be manipulated to help artists learn to see shadows, light, shape and form. This leads me to contemplate on Impressionism. Impressionism leaves that degree of detail open to interpretation to the viewer. The viewer must have a degree of familiarity with the subject to appreciate the art of Impressionism. I also paint with a degree of realism, trying to convey my subject in simple brushstrokes and harmonious color. I use my sense of Impressionism to create space and depth. Painting to me is a balancing act of so many things I have learned and still trying to learn. Today, I’m reviewing visual analysis which is helping me with my gesture drawing.