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.