Day 3 of Nastagio’s Breakfast. Former student Andrew came to watch me paint. I told him it would be boring beyond belief, but he sat there all day, taking notes, and rarely talking. I painted nine hours, with barely a break, and covered 80% of the canvas. It is crude underpainting, but will add the necessary depth to the forms and colors. Having an observer is recommended for all painters who want to speed it up!
The tabs have the background story.
I like that you are sharing this in this type of format. It’s useful. Thanks. I watched you for many hours. I think that having someone there urges you to work more/faster/whatever.
This one isn’t as big in the one you watched, but the pressure is still on! The approach here is a little different, also. It always is a bit different, each painting, I guess. I usually under-paint the figures first, then work back to front.
Yeah that’s how I remember it, and I just noticed the under-painting style on this was different. Last time everyone had a greyish light-blueish, silverish, hard to describe color.. Is it just because you want to complete it faster? Master of technique!
I am jealous of Andrew! I too, would like to come watch. (Of course, being a woman, there is no guarantee, I would be as silent, haha). This is not a layered tempera piece I take it? Could you discuss your color pallet? Is it the transparent chroma? Only a man could write a violent “love” story such as this one. I found it disturbing on many levels. (glad we’ve have emancipated since this was written!) I love the play of the composition. You ability to create not only depth in a picture plane, but to draw the viewer “into” the plane as well, is always so masterful. Since I have done 12 × 12′ areas in the street over 2-3 days for 18 years, yes, I can attest, one does work so much faster when people are watching! Love the work Mr. Hess!
Thanks, Lori. I thought you wanted to observe egg tempera technique, which this isn’t, so far. It may come in at some point. You are welcome to come see the progress, however.
In updating, I used a cop instead of a knight, chasing down a hippie-gal. It suddenly seemed to have a corollary to the Occupy movement. I liked the idea of this fearful, conservative/authoritarian symbol lusting after the freedom of the counter-culture, a freedom they will never achieve because security/safety is desired too greatly. So they have to kill it.
To this point the colors are mostly earth colors in the warms, cremnitz and titanium white, cools are grays, some ultramarine, azure, and turquoise. Some areas are transparent, others solid.
Wonderful Scott! Good to see that you’ve moved from American history back to the Romans and Romance! Your sense of depth in the ditch and the woods speaks to Botticelli’s Nastagio degli Onesti, #4 and his arching perspective. Have you seen Pasolini’s Decameron?
Thanks, Jerry. Hopefully the depth will be even greater, I realize my walks in Griffith Park are having an influence on my scenery. I saw the Pasolini Decameron about 25 years ago. Can’t remember a thing, so I’ll have to see it again before this Koplin Del Rio narrative show goes up, and this piece goes on display.
Nastagio's Breakfast, Day 3
Day 3 (7/29/12)
F Scott Hess (b. 1955)
oil on canvas
46 × 54 inches.
Available at Koplin Del Rio Gallery