When painting from the on- sight sketch and the memory of seeing that dancer move, it doesn't always come down on canvas the way I had planned. The two dimensional canvas and the paint can often cause the image to tighten up and become confined in the composition. This week is an example of that.
By painting out the ineffective areas and re-drawing the gesture I can put life into the form again. I am thinking that most painters are humored by the sometimes surprising outcomes of their calculated intentions and that feeling a little bit more experienced because of it.
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