Another Painting Knife Work

[Enyaw]

My apologies. According to your definition of a knife painting, you did not lie. If I say I used a three color primary but use four different blues, four reds, and four yellows, I am still using a three color primary: right? Red, yellow, blue. Where does it stop and in the end nobody cares. They like or don't like it and that is the end of it.
Sorry, my misunderstanding based on my definition of a knife painting.

 

[stlukesguild]

One reason I offer my explanations freely is that most painters wouldn't approach it that way themselves, even if I inform them of my methods. Case in point: One artist asked me how I applied the paint in order to achieve such a smooth surface, without any canvas weave apparent. When I told that person that I sometimes apply as many as 9 coats of acrylic primer prior to painting, sanding after every 3 coats, and that it wasn't related to "paint application" at all, she said that she would never go to so much "trouble". I never feel threatened by offering my methods freely. Why? Because they likely won't do it anyway!

Your means of glazing strikes me as close to the Netherlandish approach (Van Eyck, Van der Weyden). The Venetians (Titian, Tintoretto, Veronese, etc...) took a looser approach weaving glazing and impasto and allowing brush strokes and the canvas weave to show. Rubens developed an even more rapid technique likely employing a medium involving mastic tears that was similar to Maroger's. I'll agree that not many painters today are going to want to work in such a time-intensive manner.

I suppose the same could be said of my work. There are few artists that I've come upon who work in pastel on the scale I do... or invest as much time in details such as the geometric patterns and floral designs and gold leaf. Sometimes I wish I were still working in a manner akin to German Expressionism.

I'm not sure the viewing public much gives a damn how the painting has been accomplished, as long as they like it.

I was always confused by those who exaggerated Vermeer's use of optics... as if anyone could produce similar results if they used a camera obscura. It never dawns on them that we have far better projectors today and yet I have yet to see many paintings to rival Vermeer. Whether Vermeer used optical aids or not... or whether Rubens or Raphael employed assistants or not does not affect the final result... unless it actually does affect the final result.

 

[Bizzibee]

I think this is excellent - very atmospheric!

 

[trufflecat]

I love it. I think you've used the bright colors and extreme contrasts to create an exciting painting.

 

[Artyczar]

I agree that it does not matter how you get there, as long as you get there. Wait...did I say that already?

 

[john]

I really like one of yours Bill. I like the textures and randomn/controlled blending surprises that a knife can bring. And the magenta! The saturation! It looks like you enjoyed it. It has fearless joyous spontaneity.

 

[Nufocus]

Wow, wow, wow!!! Great!