Posts Tagged ‘Eugene Delacroix’

A Life of the Mind

September 14, 2017

Blog Thursday

Morning Meditation over the Journals of Eugene Delacroix

Blog Thursday 2

Working on Watercolors as the Dawn Breaks

There, seated on a bench, I started to jot down in my notebook some reflections similar to those that I am tracing here. . . . I cannot and must not live in any other way than through the mind; the food that it demands is more necessary to my life than that which my body calls for.

Eugene Delacroix, Journal, July 14, 1850

Finally, a genuine “off” day between college lecturing. After the third week of the semester, I finally have my ducks in a row so that on the days I don’t have class I can actually spend my hours doing what I feel is most central to my life–reading, writing in my journal, blogging and making art. Tomorrow’s college lecture is ready so I don’t have to fret over those details.

I rose at 5 a.m., with a sense of joy and anticipation. Following breakfast, I found myself in the watercolor studio picking at a composition I had been working on the night before. I now have three railroad watercolors in progress, and am happily moving to and fro among them. By 6:15, I decided to break from the painting and retreat to my study to continue my reading from Delacroix’s journals. I laughed out loud when I read the passage posted above, because I have felt foolish keeping a handwritten journal religiously since 1985, and still scribbling in it almost daily, then occasionally writing a blog from what I’ve already written in my journal. And here, I find Delacroix admitting the same thing–keeping a notebook, then re-writing, editing what he first wrote as he transfers it into the journal now published. From time to time, I wonder if I should print out all my blog pages, then wonder if that is really necessary, since I’ve already recorded most of this stuff in my handwritten journals.

I have always loved this notion of “the life of the mind” and am gratified this morning to read Delacroix expressing the same sentiment. I’ve always feared that it sounded arrogant to say that I live a life of the mind, perhaps even foolish and impractical. But it’s accurate. Forty years ago this fall, I embarked on the life of the mind when I entered graduate school, thrilled at the daily pursuit of the history of ideas, and over these decades, reading has been my food, and attempting to express my ideas by making art and standing to deliver in classrooms has been my exercise.

On Monday evening, I will stand before the Society of Watercolor Artists in Fort Worth for the purpose of doing a watercolor demonstration. To describe this event as daunting is a gross understatement. I’ve known of the assignment for a number of months, but still, the anxiety of standing and delivering amidst a body of seasoned watercolorists keeps my inner doubts churning. At any rate, I’m preparing daily now to have something (hopefully) worthy to say and demonstrate when that hour arrives. Wish me luck!

Much of what I express on these blog pages is being shaped into the coming presentation. So, again, I thank all of you for your reading and your responses.

Until next time then . . .

I paint in order to discover.

I journal when I feel alone.

I blog to remind myself that I am not alone.

Thanksgiving Meditations

November 24, 2016


Why not make a little collection of detached ideas which come to me from time to time completely molded and to which it would thus be difficult to attach others? Is it absolutely demanded that one produce a book, keeping within all the rules? Montaigne writes by fits and starts. Those are the most interesting works. 

Eugene Delacroix, Journal, Tuesday, May 7, 1850

This Thanksgiving holiday has been warm and cozy, and I’m always grateful to come back home and see family again. As the aromas of food cooking filled the house, I relaxed in a chair, reading from the writings of Delacroix, and came across this passage I’m posting.  I was so inspired by it that I laid the book aside, pulled an old doorknob and locking system from my bag and began sketching it in my journal.  My dad, liking what he saw, went out to his shed and returned with a second door knob. I removed mine and inserted his into the box and attempted a second sketch before dinner time. The time was rewarding, and I enjoyed the feeling of putting something like this on paper.

Thanks for reading, and Happy Thanksgiving.

I make art in order to learn.

I journal when I feel alone.

I blog to remind myself that I am not alone.


A Weekend Given to the Arts

October 2, 2016


. . . there is something else in painting beside exactitude and precise rendering from the model.

Eugene Delacroix, Journal, March 5, 1849

I celebrated this first weekend in over a month when I had no work-related responsibilities to fulfill. The entire weekend was given to reading, journaling, and watercoloring, and now my soul, finally, feels restored. The abandoned gas station from Claude, Texas is coming along slowly and with much feeling, as I spend more time staring at it compositionally than actually painting. Reading the Delacroix journal this morning confirmed me in this practice, that I should spend more time contemplating my work as art instead of the craftsmanship of drawing or painting.

I spent a large part of Sunday painting all around this composition, and I believe the most satisfying discovery was the way the stale bread crumbs responded in the foliage above the roof of the station. As the paint dried around the crumbs, I continued to mist the paper with a small spray bottle given to me by a dear fellow watercolorist/friend. Thank you, Elaine! I feel that finally I’m learning how to cope with the difficulty of tree foliage and texturing.


Over a week ago, I began a smaller sketch of Queen Anne’s Lace, intrigued by the warm and cool greens that surround the blossoms, and wondering how actually to shape and render the blossoms themselves.  After alternating several layers of masquing and color washes, I finally peeled away all the masquing this afternoon and tried to go back into the composition and render the blossoms.  So far, it isn’t working the way I wish for it to, but it’s early still.  I’ll keep studying and trying new things.


I wish I could pick up the brush again in the morning, but I have a job to fulfill, so I guess I’ll see if I have any gas left in the tank after finishng my Monday classes.

Thanks for reading.

Meditations on “Genius”

July 19, 2015
Nearing the Finish of an Earlier Painting of the Laguna Madre

Nearing the Finish of an Earlier Painting of the Laguna Madre

What makes men of genius, or rather, what they make, is not new ideas, it is that idea—possessing them—that what has been said has still not been said enough. . . . Novelty is in the mind that creates, and not in nature, the thing painted. . . . That fever, you take it for the power to create, but it is, rather, a mere need to imitate. . . . Ah, no.  The fact is that they have not said the hundredth part of what there is to say; the fact is that with a single one of the things that they skim over, there is more material for original geniuses than there is . . . and that nature has put in safe keeping in the great imaginations to come more new things to say about her creations than she has created things.

Eugene Delacroix. Journal

Recently I listened on Youtube to the late Abstract Expressionist painter Robert Motherwell, fielding questions from an audience. He was asked about why he painted “Elegy to the Spanish Republic” over a hundred times. Was it a series. His response was No, not a series. His reason for the repeated paintings was that he felt that he never found what he was looking for as he explored that composition. He believed that was the same reason Paul Cezanne painted mont sainte victoire over fifty times. Delacroix, in his journal, pointed out that “genius” believes there is still much to be said in the subject under consideration.

The topic of genius is one that has intrigued me for a number of years.  I confess that in graduate school I dreamt of publishing an original idea (probably the dream of over 90% of dissertation authors).  Once I landed in the teaching arena, I continued to look for that original idea to publish, to put myself on the map so to speak.  As time went on, I came to this notion that creative genius is manifest in the act of configuring ideas in a way not done before.  As history continues to unroll, it becomes increasingly impossible to be “original.”  Once I began to think down this track, I tossed the vision of originality and instead found my joy in the act of creating, no longer fretting over whether or not my work would stand the test of time.

Back in 1993, I was enraptured by an article published in Newsweek, titled “The Puzzle of Genius,” written by Sharon Begley.  I saved the issue, and twenty-one years later, I still read it, and now quote from it:

The creative geniuses of art and science work obsessively. They do not lounge under apple trees waiting for fruit to fall or lightning to strike. “When inspiration does not come to me,” Freud once said, “I go halfway to meet it.” Bach wrote a cantata every week, even when he was sick or exhausted. Though most composers would kill to have written even one of his best pieces, some were little more than wallpaper music. Eliot’s numerous drafts of “The Waste Land” constitute what one scholar called “a jumble of good and bad passages [that he turned] into a poem.” In a study of 2,036 scientists throughout history, Simonton found that the most respected produced not only more great works, but also more “bad” ones. They produced. Period.

A few years back, I stopped using my full-time job as an excuse, and leapt from averaging fifteen-to-twenty watercolors per year to well over a hundred.  Sure, some of them are 5 x 7”, but some are 22 x 28”.  Some are quite bad, but others are quite alright.  I’m pleased that I’m cranking out creations, no longer fretting over every one of them being worthy of framing and hanging.  Funny—around the time I began feeling somewhat smug over cranking out great quantities of art work, I read about the day in 1975 when Andrew Wyeth was approached by Thomas Hoving to assemble a major exhibition for the Metropolitan Museum of Art.  Wyeth unlocked his cabinets and drew out more than fifteen hundred pre-studies for his tempera, dry-brush and watercolor masterpieces.  Fifteen hundred!

In my life today, I frequently encounter colleagues who describe themselves as “frustrated artists.”  Oftentimes, I discover that they haven’t created anything in years, using as an excuse their job, family, health—any number of obstacles that all humans encounter during this all-too-brief sojourn on earth.  David Bayles and Ted Orland collaborated on a book that has impacted me probably more than any other book from this recent decade: Art & Fear: Observations on the Perils (and Rewards) of Artmaking.  I was stung by this observation: “The world is filled with people who were given great natural gifts, sometimes conspicuously flashy gifts, yet never produce anything.  And when that happens, the world soon ceases to care whether they are talented.”  I loved the musings of Howell Raines, long prior to his becoming the Executive Editor of The New York Times.  He movingly testified that “we are not on this earth for long.  Part of what a midlife crisis is about is figuring out what gives you pleasure and doing more of that in the time you have left without asking for permission or a financial or emotional subsidy from anyone else.”

As I write this, I am aware of file cabinets jammed with my old sermon manuscripts, my graduate school term papers, my lectures from college and high school classrooms, public speeches given, and over 130 volumes of my journals dating back to 1987.  And I look across my library shelves jammed with volumes filled with highlighted, underscored and marginally-noted texts spanning over three decades.  The shelves are also crowded with VHS tapes and DVDs of documentary and Teaching Company lectures.  And they continue to whisper their invitations for me to explore new pastures, but I simply cannot get at them all, not just now, and probably never will.  Yet still I find time sufficient to think on these treasures, and tonight am delighted to have a little space to write what’s on my heart.  On this day, I also had the pleasure of picking up a painting that I had stopped working on a few weeks ago. Though I was at a crowded art festival, I still found some time to tinker with the painting, trying to learn a new angle in watercolor. I enjoyed the time painting, and I enjoyed the wonderful chats with patrons throughout the afternoon. It’s been a good day.

Thanks for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not quite alone.

Clarity of Mind

June 21, 2015
My Thoughts are Still at the Laguna Madre

My Thoughts are Still at the Laguna Madre

Hilary Spurling, in her magnificent two-volume biography of Henri Matisse, pointed out that he traveled to exotic places for the same reason as Eugene Delacroix before him–to cleanse the eye. He also took his cues from Paul Gauguin in his visits to Tahiti. Spurling wrote that Matisse’s year in Tahiti led to “clarity of mind”. This is what I am hoping to experience, compliments of a week spent on the spoil island in the Texas Laguna Madre. The quiet, the space, the ability to paint daily unhindered, with no appointments–all of these added up to a terrific week of watercolor output, plenty of journaling and blogging, and my eye was never weary of what surrounded me.

Now that I have been back home for a week, I desire to compost this island experience and translate it into worthy writing and a collection of paintings. Currently, I am carrying with me the Hemingway wistfulness from his book A Moveable Feast–“Maybe away from Paris I could write about Paris as in Paris I could write about Michigan.” My mind is locked on the Laguna Madre, and daily in my journal, new ideas are pouring out, whose seeds were sown that week. The only aggravation I’m experiencing is my return to these demanding appointments that try to make me think of other things. I just finished 32 hours of A.P. training for Art History, which was a daily grind last week, and tomorrow I face a three-day (all-day) conference for A.V.I.D. training in Dallas. As I came home whupped every day last week from T.C.U., I anticipate coming home everyday this next week from Dallas, whupped. And throughout these days, voices will be hammering in my ears, urging me to think on a different objective than the one that owns my heart and will right now.

Realistically, nothing we achieve is performed under ideal circumstances. We give our best, working as best we can with what is given us. So, I guess I’ll just suck it up, and do what I can these next three days. BUT!!!!! Beginning Thursday, my calendar is completely clear for a few weeks. And I’ll certainly be ready to churn out some serious “island stuff” once I am free of all these appointments. There. I feel better already.

Thanks for reading (and listening to the whining).

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not alone.

Cultivating the Garden

May 2, 2015
Saturday Morning, waiting for the Piano Pavilion to Open

Saturday Morning, waiting for the Piano Pavilion to Open

“I also know,” said Candide, “that we must cultivate our garden.” “You are right,” said Pangloss; for when man was put into the Garden of Eden, he was put there with the idea that he should work the land; and this proves that man was not born to be idle.” “Let’s work, then, without disputing,” says Martin. “It is the only way to make life bearable.” 

Voltaire, Candide

Driving this morning to Fort Worth for an all-day writing workshop at the Kimbell Art Museum, these words from Voltaire whispered into my consciousness, and I felt that I had found something to help me understand our role while living out our lives on this planet. I have never understood what it is to be bored (except when I’m trapped in a meeting), as there are more things to do than I can tend. But I felt that today was a Gift, because there was this opportunity to spend a day in the museum under someone else’s direction, perusing the art collection and finding new ways to write about art. Granted it was a workshop for teachers, I nevertheless wanted to stir up my own soul with these stimulants.

Arriving about forty minutes before the museum opened, I took this sweet opportunity to sit in the shadow of the Kahn building and look across the lawn at our new Renzo Piano Pavilion, where the workshop would actually take place. I brought with me Ernest Hemingway’s autobiography, A Moveable Feast, and read again the sections about him struggling to write during his early days in Paris:

I would stand and look out over the roofs of Paris and think, “Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.”

That was the oracle I needed to start my task. Once the workshop began, the hours flew by, as the capable instructor never ran out of ways to inspire us to write and look at the art with different spectacles. It turned out to be a splendid day of drawing and writing about the pieces in the Kimbell.

Spilling out the Day's Work on my Desk

Spilling out the Day’s Work on my Desk

There is nothing like coming home at the end of the day, opening the book bag, and spilling out onto the desk all the material you created during the day of inspiration. Our hours were divided evenly between studying select pieces of the permanent collection and finding ways to write about what we saw and thought.

"Selim and Zuleika" by Eugene Delacroix

“Selim and Zuleika” by Eugene Delacroix

One of our assignments was to write a character profile based on one of the paintings in the museum. The key word I drew from the bag was “lively”, so my task was to find a lively painting and choose a character for composing the profile. Looking at this Delacroix painting inspired by Lord Byron, I found myself recalling Samuel Butler’s quote that every work of art is a portrait of its creator. Having spent time in the Journals of Eugene Delacroix, I saw him all over this painting, and chose to compose my profile on him, writing the following:

Name: Eugene Delacroix

Where do I live: In exotic settings

What do I do: Explore the boundaries

Friends would describe me as: Restless and Inquisitive

My hobbies are: Traveling, painting, reading Romantic literature, dreaming and journaling

My favorite place to hang out: Tangier

My secret is: I am never bored, and I am never certain.

What am I going to do next? Cleanse the eye, by looking for something new.

How did I get into this work? I followed my curiosity, refusing to obey conventions.

Our next project was to “mash up” a story by combining our work with that of another workshop participant, seeking a way to bring the two characters together in a plot.

Portrait of Mary Anne Bloxam (later Mrs. Frederick H. Hemming)

Portrait of Mary Anne Bloxam (later Mrs. Frederick H. Hemming)

My instructor had skillfully created a character profile of this lady and her conservative, conventional, public lifestyle (the key word for her profile was “proper”). The two of us talked of ways to get Delacroix and the future Mrs. Hemming into a story, and then we wrote our pieces. Hers was better than mine, but I’ll share mine:

In the midst of the Parisian Salon, the soon-to-be Mrs. Hemming could not stop looking at the strikingly handsome and rugged gentleman standing in the back of the parlor as Brahms was being played. Eugene Delacroix immediately perceived her furtive glances. As the evening played out, neither approached the other, but neither could stop looking or remembering.

Two months later, in the heart of the Grand Tour of Venice, the pair’s eyes met with a shock of recognition, and they strode toward one another. As the conversation and romantic drama unfolded into the evening, the unraveling dawned unmistakable. He could not forsake his traveling adventures, and she could not break her conventional engagement and matrimony. But neither would be able to forget the other.

After the fun of writing our fiction stories, our next assignment proved more difficult, and we only had ten minutes, as the session was nearly over. We were handed a page from Jane Austen’s Pride and Prejudice, and our assignment was to lift words from the text to compose a poem inspired by one of the paintings in the collection. I thought this was impossible, but standing in front of a Cezanne painting, I began underlining particular words that caught my eye from the Austen text, and this is what I composed:

Maison Maria with a View of Château Noir

Maison Maria with a View of Château Noir

A Building that Does Not Belong

The high road

          Barely discernible,

The garden sloping

          Involuntarily to the road.

The parsonage

          Stopped at civility,

Displaying the recollection

          Of furniture.

Once I got back home, I poured out my day’s work, grateful for the memories and stimulation. As the light began to wane, I moved into my studio and pushed my waiting watercolor a little further down the road:

The light is now gone, the evening has arrived, and I am in the best mood possible to read, reflect, write and enjoy the memories of this day. I am overflowing with gratitude that a local art museum offered such a rewarding study.

Thanks for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not alone.

Late Night Ruminations Concerning Artistic Authenticity

March 24, 2015
Staring at Watercolor Sketches Late at Night

Staring at Watercolor Sketches Late at Night

see in painters prose writers and poets. Rhyme, measure, the turning of verses which is indispensable and which gives them so much vigor, are analogous to the hidden symmetry, to the equilibrium at once wise and inspired, which governs the meeting or separation of lines and spaces, the echoes of color, etc. . . . But the beauty of verse does not consist of exactitude in obeying rules, when even the most ignorant eyes see at once any lack of attention to them. It resides in a thousand secret harmonies and conventions which make up the power of poetry and which go straight to the imagination.

Eugene Delacroix, Journal, September 19, 1847

In my art history classes, we are neck-deep in the opposing theories of the Neoclassical and Romantic painters of the 18th and 19th centuries. I never really know just how much of this content (if any) resonates with my students, but it makes my blood pump hotter, and quickens my pulse. This debate is not merely academic with me, as the personal matters extend all the way back to my college days over forty years ago. In those days, I was tagged as Neoclassical, though they used a different vocabulary to describe my work then.

The debate divides painters between the drafting, compositional, structural ones (Neoclassical) and the painterly, organic, emotional ones (Romantic). I have always been tagged with the former–I draw, I structure, I try to discern rules for quality compositions when I make art. My college professors said my oil paintings were “colored drawings.” They were right. In the ensuing years, I have found my niche in watercolor because I regard this medium as an extension of drawing, and it feels natural to me.

But now in my senior years, I feel things more deeply, embrace beauty more passionately. And when I regard my own work, I continually wonder how one finds the key to creating art for an emotional response rather than a rational one. I find some comfort in reading that Andrew Wyeth and Edward Hopper struggled with the same sentiments. They feaered that label of being “illustrators” and “technicians” rather than artists.

Another Exercise Walk Yields a Winsome Subject

Another Exercise Walk Yields a Winsome Subject

When I took my exercise walk this evening, I was held by the attraction of this magnificent tree glowing in the setting sun. As I gazed at it, charged with emotional energy, I thought of my own recent attempts to render trees in watercolor. And I wondered what it would take to raise the quality of such paintings from the standard of illustration to one of beauty. How could I learn to paint trees with a druidic feel, rather than illustrative, such as one finds in an encyclopedia?

My apologies if this entry comes across as rambling. But this is where I am tonight, and I’m fascinated with these conflicting notions that have coexisted in the art world for centuries.

Thanks for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself I am not really alone.

Winter Closing In

November 15, 2014
Road Trip in the Crisp Cold

Road Trip in the Crisp Cold

I awoke today and found

the frost perched on the town.

It hovered in a frozen sky

then it gobbled summer down.

When the sun turns traitor cold

and all the trees are shivering in a naked row.


I get the urge for going

But I never seem to go.

I get the urge for going

When the meadow grass is turning brown

Summertime is falling down and winter is closing in.

Joni Mitchell

After a second shivering night without a furnace, it was a genuine pleasure to meet with a writer and creative spirit for a 6:30 breakfast in front of a roaring fire place.   The conversation was first rate, and there just doesn’t seem to be enough of those available today. So . . . (you know who you are!) . . . thanks for a fabulous breakfast and most soulful chat.  Thanks for a wonderful beginning to this cold morning.

I’ve posted these lyrics above that have haunted me for years now.  I had no idea that Joni Mitchell penned the words, as I’ve listened to the song performed by Crosby, Stills, Nash.  And though the song was never a hit, it remains one of my favorite, most soulful pieces.  I love the approach of the year-end holidays and the change in climate, mostly for the memories–an admixture of joy and sadness, gratitude as well as regret.  Soulful.  That is the best way I can describe the coming season.  And I welcome it.

Painting is the trade that takes longest to learn and is the most difficult.  It demands erudition like that of the composer, but it also demands execution like that of the violinist.

Eugene Delacroix, Journal, September 18, 1847

Right now, the house and studio are too cold for painting, but at least I could study it further with the plethora of books I have surrounding me now.  And I have the time . . .

Thanks for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not alone.

Rising Above the Swamp

November 8, 2014
Late Night "Bedtime" Sketch

Late Night “Bedtime” Sketch

In the morning, sitting in the forest.  I was thinking of those charming allegories of the Middle Ages and the Renaissance, those cities of God, those Elysian fields full of light, peopled with gracious figures, etc.  Isn’t that the tendency of periods when beliefs in higher powers have preserved their full strength?  The soul rose ceaselessly above the trivialities and miseries of real life into imaginary dwellings which were embellished with everything that was lacking around you.

It is also the tendency of unhappy periods when dreadful powers weigh upon men and cripple the flights of the imagination.

Eugene Delacroix, Journal, May 22, 1847

I cannot describe this “transcendent” feel that I have when I’m in my element.  Throughout my years of life, I have seen more than I like of the oppressive side of the world in which we live.  But something always manages to buoy me above that dismal swamp.  This is not to say that I don’t experience seasonal moods of depression–I do.  But days like today, when all seems right in my corner of the universe, I find myself filled with a gratitude that cannot be couched in words.

My Saturday began with the reading of fine literature, journaling, thinking, exploring memories and experiencing gratitude.  I later entered the Man Cave and kicked out a charcoal compositional sketch that I did not like.  So, I just walked away from it, thinking I would just redirect my attention back to reading and journaling.  But less than an hour later, it suddenly dawned on me that I was trying to conquer a composition by drawing–something I do not practice enough– and composition is complicated anyway.  The word came to me: simplify.  Returning to the Cave, I picked up the charcoal again and concentrated on just one still life object, then another.  Things improved.  I realized composition would come later, when I was ready.  When the student is ready, the teacher will appear.

Sitting later in the open doorway of my garage, I enjoyed the cool breezes of the late afternoon, and felt my body cleansed by the auburn glow of the waning sun.  I returned to my reading of Eugene Delacroix’s Journal and the passage posted above just seemed to pull my day together perfectly.  Aside from one more quick sketch right before bedtime (posted above), I just gave the best part of my evening to reading and reflection.  Perhaps tomorrow I will get an early start on the day.  I have done enough today to fill three days with a sense of accomplishment.

Thanks always for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not alone.

The Coleridge Syndrome

July 25, 2014
Slow Excavation on this Large Watercolor

Slow Excavation on this Large Watercolor

I must forge ahead, and stop only to finish the Velasquez.  The human mind is strangely made!  I would have consented, I believe, to work at it perched on a belfry; now I can think of the finishing of it only as the greatest bore.  All this, simply because I have been away from it for so long.

Eugene Delacroix, Journal

I read somewhere that Samuel Taylor Coleridge was criticized on two fronts: 1) that he was a dreamy child given to long spells of contemplation, making him an easy target for accusations of indolence, and 2) as a writing adult, his room was perpetually littered with unfinished literary projects.  Today, as I let out a sigh, looking at a number of my unfinished watercolors, I was bemused to come across this quote from Delacroix as I was reading in his journals.  How hard it is to breathe life back into a work of art that has lost its initial spirit due to neglect.  I enjoyed lunch with a good friend and colleague earlier today, and we shared a laugh about our A.D.D. tendencies (he also has more interests than time to devote to all of them fairly).  Both of us admitted that we wish we were better “finishers” in all our endeavors, but we do enjoy our lives and all these avenues that seem to present themselves to us simultaneously.  Thank God for these three-day summer weekends.

There is a thick crust that must be broken before I can take heart in anything; a rebellious piece of ground that resists the ploughshare and the hoe.  But with a little tenacity, its unfriendliness suddenly vanishes.  It is prodigal with flowers and with fruit.

Delacroix, Journal

I know very well this “thick crust” of which Delacroix wrote.  After a few days, I finally feel that a sense of momentum is returning on this large Fort Worth Jazz piece I began a few months ago. Returning to it has required some strong talk and even stronger coffee, but I’m glad I stayed with it. The detailing on the sign is coming along very slowly, with plenty of stops and walks across the studio to view it from a distance and see if what I am doing is O.K.  Not having a deadline is a good thing for me right now, and I’m glad to take my time and watch this develop slowly and naturally.

I wish that I could write interesting things about the Logic course I’m developing, as it’s taking large chunks out of my day.  I am loving the study of it, but cannot find a way to rhapsodize about the subject in my writing.  So I’ll just let that one simmer in the background.

Thanks always for reading.

I paint in order to remember.

I journal when I feel alone.

I blog to remind myself that I am not alone.