Protected

Protected
Watercolor on Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
NFS

When I worked as a performing songwriter, touring from here to there and beyond, the private joke (not so funny) was that it took days upon days of work for one 20 minute to 3 hour gig. And we weren't just talking about driving. Then, of course, there were the amount of gigs we'd have to play before one really stellar moment emerged with all the right elements of good performance, good audience, good room and good hosts.

I look at this picture and think of all the paintings I make before arriving at one that really pleases and satisfies me. (Not that I don't like the others — I would not show or sell something I did not think was good.)

I am reminded of Kenneth Clark's commentary on Claude Lorraine's paintings.

"Finally we come to the pictures, about which there is little to say because anyone who looks at them in a receptive frame of mind must surely be touched by their exquisite poetry. They are a perfect example of what old writers on art used to call Keeping. Everything is in Keeping; there is never a false note."

That's how I feel about this painting. See what I have posted today at Studies and Sketches and find out what's going on behind the scenes at My Great Day. Now through January 23rd, I am posting the last chapter of Diary of a Studio. These last posts cover the high points of the first year. Today, you can meet Tallulah!

Thank you for visiting Suzanne McDermott's painting a day landscape art.