“Well, it depends on your point of view.”

Sure, but we can also determine our POV.

If one prefers the shadow, stay. I tend to think of Picasso as a liberating force, pushing forward…

Thanks for the insight. Your monitor is reading the color correctly. And I’ll take a look again at the images and try to suss out your reading. It might help me think about what I’ve done.

What comes next is definitely not carving out more still lifes, although I might carve up a canvas or two. Rather, I’m returning to the landscapes from John Day — although since it’s the Blue Basin/badlands I’m dealing with, I’m still working on color, of a different horse, of course.

It took me about 10 days to produce 20 sketches and 11 Cubist paintings, not a single one of which are worth saving. I think I learned some things, perhaps about the difficulty of inculcating depth without shading and how easy it is for everything to go to mush. Mostly, though, I swore at my assignment (which of course I had given myself) and the “giants” who so mucked with my self-possession.

It is bliss to go back to the landscape. I actually feel like I’m making headway there.

Arthur, you are right about the point of view — in my case, from below, looking up.

Either way I would hope that These images do not trace out the span of your interest in the subject. How long did it take for you to carve out your place in landscape? While engaged in your exercise over the last week or so you have found that you are not a cubist, or at least not in biscuit and strawberry terms. But you seem to have some things to say about still life and I, for one, look forward to what comes next.

“…nor days when looking at giants makes them feel puny.”

I guess I was suggesting that giants are not really giants.

Overexposed to the finished opus of Ansel Adams, June’s work is more stimulating.