Just back in Italy, I’ll be posting new works and observations as they emerge, but in the meantime following are some random thoughts and info.
Having spent the early winter painting sets for Charpentier’s Acteón (Haymarket Opera company), which involved a woodland setting inspired by Lazio, I was interested to see Corot’s studio painting of Diana and Acteon at the Metropolitan Museum:
I have to admit I don’t find his studio works nearly as appealing as his on site paintings, especially those from his time in Italy:
For me this is related to the question of time—in the studio one has potentially infinite amounts of it, and as the expression goes, work expands to fill the time allotted to it; in the field, instead, one is constrained by changing light; thus Valenciennes’ two hour window. Speed saves, in other words.
Plein Air magazine is happily back on the newsstands:
And my friends Maddine and Joe are back in Italy again soon offering their artistic and culinary classes: