Sunday in the Gallery

I begin a painting with a series of mistakes . . . 

Robert Motherwell




It is Sunday morning, and I feel well-rested, despite a Saturday filled with events lasting into the night. Palestine had its Main Street Wine Swirl and over 400 people purchased tickets for the event that took them to places all around the business district, including the Redlands Hotel. Knowing the lobby would be filled with people, I took advantage of an opportunity to play guitars and sing with my new friend Drew Minshew that I met while painting on the Waxahachie town square last spring. Drew and I spent the evening filling the gallery with our favorite tunes, and everyone coming in seemed to have a good time.


This morning, I have begun work on a new painting of the Chamber of Commerce building across the intersection from the Gallery. The one I started a few weeks ago sold off the easel unfinished, and I was delighted that the buyer preferred the vignette look of the work in progress. Nevertheless, I have begun another, hoping I could perhaps finish this one. I cannot say I agree with Motherwell’s sentiments of beginning a painting with a series of mistakes, though I know that experience all-too-well. I just don’t prefer it!  Instead, I like Andrew Wyeth’s sentiment that working with watercolor and pencil is much like fencing–you need to thrust the point of  the pencil with precision and confidence, with no second-guessing.

Thanks for reading. Sundays are usually quiet around here, but this morning has been filled with interruptions as more people seem to be getting out on this sunny, cold Sunday morning in Palestine. I opened the gallery at 9:00 and found people all over the hotel lobby already.


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4 Responses to “Sunday in the Gallery”

  1. Xraypics Says:

    A well respected local artist once told me that there are no mistakes in painting. But… there is what actually goes onto the paper, and there is what you WANTED to go on the paper. I suppose the advantage is that nobody else knows what was in one’s mind at the instant the mark was made.


    • davidtripp Says:

      Good point. I’ve always listened to (critically) remarks from the likes of Jackson Pollock and Jean Michele Basquiat, claiming that they denied the accident and what they did always fit into some kind of overarching purpose. I can’t quite go that far. I do allow watercolor to run freely at times, but also step in and arrest the flow to conform to what I’m trying to accomplish. I guess I’m following Wordsworth, in believing that spontaneous overflow of feelings are necessary in making art, but at some point we also need to organize the composition “by judgment studied.”

      Liked by 1 person

  2. Jay Haeske Says:

    I see you play a Martin too, how long did you have it/when was it made?
    Sorry I could’t visit you at the gallery when I went to Palestine last month, but I did manage to see the painting in the window, and was happy about that.
    And I discovered the Camp Street Cafe in Crockett and ran into Pip Gilette who told me a lot about its history, which was a great experience. Do you know him/his music?


    • davidtripp Says:

      Yes, I know Pip, and love that venue! My friends in Crockett lease this gallery I’m in. I bought the Martin new in 2004 and love playing it. So sorry I missed you! I’m here weekends unless I’m in a show somewhere else. The hotel owners gladly unlock the gallery for interested visitors.

      Liked by 1 person

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