Some artists are very particular about ellipses, getting them right.  Monsieur Bonnard on the contrary used distortion a lot in his art, as did others of his contemporaries, like Vuillard, Matisse, Braque, many others.  While there’s nothing wrong with getting your ellipses right, getting them “wrong” poses a different sort of conundrum.  What kind of distortion gets the proper meaning?  Something about that creamer above, its overly wide rim, its weirdly strong echoing shadow appeals to me.  I like the crudity of this little painting that I made a long, long time ago.

I am wondering if I can properly manage a similar kind of sharp elbowed kind of drawing-in-the-painting now … and can I do so on a large scale?  Can I do that in the forth-coming big still life?

I wasn’t trying to distort the creamer when I painted this, and I had an actual motif that I was looking at.  I won’t be looking at the motif when I paint the big painting, and can one respond in that angled way to an image that floats in your brain?  An image that is really large in scale?

I don’t know, but I’m going to find out.  Writing about these things makes me eager to paint them.


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