I can’t believe it, but this panel marks the end of the line. It’s the final oil panel as well as the final panel in the whole project of sixty-four. Soon begins the work of mounting and assembling. And from there, tweaking decisions. I am expecting and welcoming a certain amount of visual dissonance but I also know that (just like in American politics) too much dissonance can destroy the unitive vibration of the whole. So there may be some changes to make? We’ll see. But for now there’s cause to celebrate! The champagne is in the fridge. It’s been almost two years.
So again, this was the last panel. One quarter of my face. For those of you who have been following this project you will remember that in any particular medium I tend to leave the more important/challenging panels for the last. I begin with the abstract compositions, then proceed to the body parts compositions, then the complex figurative groupings, leaving my face (which was cut up into four sections) for the last.
To render this panel I began with the underdrawing in pen and ink over a yellow imprimatura. See above, right. Then I covered the face area with an underpainting of terra verte (green) and let it dry. After a few days I laid in a clear glaze and set to work, moving from background to foreground. There was: the back wall, two heads of hair and one face. After three hours of work I had achieved what I was looking for – a rendering of the forms with spontaneity and freshness. I’ll leave it to dry and see if anything else begs for my attention. But I’m pleased with what I have so far. If I make further changes they will be small ones.