Seraph of the end: Chapter 57 part 9
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SOUTHERN PAIUTE MAN , 1947
SOUTHERN PAIUTE GROUP , 1935
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Your Tolkien art is gorgeous :) If you're taking suggestions, would you ever draw Edrahil? If not, it's absolutely and totally fine, sorry to bother you. Thank you so much for the compliment! And o…
The below is an excerpt from the interview with Harry Stooshinoff, read the full article here» LG: You currently paint landscapes from life as well as in the studio from memory or imagination. In what ways does your studio painting differ from your outdoor painting? How do you determine what type of painting you'll work on. HS: Ideally I produce a painting per day, but every so often, I’ll miss a day. My overall aim is not so much to create a masterpiece…but to keep producing. So it follows from this that the most important thing for me is to maintain my daily energy for the task. Whenever repetition threatens to create a sense of inevitability either in approach or result, I try to break the pattern. Although most of my work is small in scale, I’ll often vary the sizes just a bit, from piece to piece. You wouldn’t think so, but this makes a huge difference. I’ll also vary the method used, collage plus paint overtop, rather than pure painting, for example. Or I might decide to work on location rather than in studio. I’m reacting to impulses based on my response to the painting just previous, to try to build maximum excitement and anticipation for the task into the coming work. That first decision about what to paint and how to do it, is about courting surprise, which is really helpful in keeping the whole enterprise going. This process is like a diary. I don’t worry about the paintings much. I know that there is a way to effectively resolve each piece, and I work hard to achieve that in the session…but then I move on. Once in a blue moon I will come back to work on a piece after the fact, but this only happens if something unusual interrupted my concentration during the initial work session. The paintings produced on location do differ from the studio pieces, although these differences might not be glaring at first glance. The length of each work session remains more or less the same in each case…..usually a bit under 2 hours. My painting sessions are a bit manic in both situations. Painting is not relaxing! Once I start, it is all systems go, with no interruptions. Painting on location is even more intense. There are more procedural unknowns…..wind, bugs, blinding or changing light, intense heat, interruptions from passersby……all are manageable, but they also cause one to key up in terms of energy. I usually feel a great sense of relief once I establish an initial flow in the outdoor painting, because the whole thing is a bit precarious after all. I’m usually even more impulsive in the outdoor pieces, and I work even more quickly. Failure is not an option in any of my pieces. This is the time, and this is the place, and the picture will be resolved in some satisfactory way….so I never abandon anything. It feels like a bit of a work-out after a plein air session, but it’s very satisfying feeling. The above is an excerpt from the interview with Harry Stooshinoff , read the full article here»
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"1410" A painting commemorating the Battle of Grunwald, where the combined forces of Polish and Lithuanian knights, crushed the power of the Teutonic Order. It was also the largest battle of the Middle Ages. Art by Jakub Rozalski.
