|Sonnet 29: In disgrace with fortune and men's eyes|
This painting is, in many senses, a continuation of the same study, although technically it belongs to another series, "Sonnets in colour". It is a preliminary photo, and I am not sure the painting is complete, but it is essential to illustrate what I've learned from Marc Chagall, and "The Birthday".
|Vincent Van Gogh. Vincent's bedroom in Arles|
|Marc Chagall. The Birthday|
Both the similarity and the contrast, the very merging of two paintings in my dreaming mind, were highly relevant to me because I was also thinking of how to paint Shakespeare's sonnet 29. The set-up of the sonnet is this very same claustrophobic space, colored by depressive thoughts about the speaker's "outcast state". And, like with Chagall, the grid is broken by a fluid lark-like upward movement of the speaker's "state" inspired by love. Except, of course, my hero, the speaker of Shakespeare's sonnet, is nowhere as happy in love as Chagall, and he is still alone. It's only the remembrance of love, the very thought about his beloved, that lifts his mood.
This meant, for me, that there can be no people in my painting; flying like Marc only works with Bella around. And yet I still needed the explicit contrast between the depression of an outcast and the joy of a lover, and it still translated into the contrast between a grid of claustrophobic space and a fluid upward movement, effectively breaking this space.
(To be continued...)