12x16 Oil, Linen on Panel
I started this with the best intention of really trying to focus on brushwork and then I had to stop for a few days. Well, you know what that means - the paint starts to dry and forget trying to play with your edges. So when I was able to get back to it, I had to repaint areas to get the edge thing going so it broke my rhythm. Darn it ! It took me a little longer than I wanted and I feared that I might over work it. I usually don't finish a painting in one setting unless it is plain air but I do like to have three days available to paint because the paint stays wet enough.

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Comment by Dania Bree on March 18, 2012 at 8:51

Thanks Stuart.  The ballet figure is part of a 3 piece set that I gave my Aunt Doris for her birthday.  Her sister was a top broadway ballerina back in the 1920's.   Her name was Mary Eaton.  My Aunt Doris was also the youngest girl to be on broadway and the last surviving Ziegfeld follie before she passed at the young age of 106.  There is a really nice video about my Aunt Doris on YouTube.  Just type in "1920's Flapper Doris Eaton".  My Aunt Mary played the leading lady in the first Marx Bros motion picture call "Cocoanuts".  She was also in the Ziegfeld follies and was in a musical called "Glorifying the American Girl".  Hope you enjoy.  I've attached a painting I did from an old black and white photo on my Aunt Mary back in the day.

As far as Lisa goes, She is a great friend and my chiropractor who let me borrow her sugar bowl for the painting.

Comment by Stuart J. Gourlay on March 17, 2012 at 16:29

Daria, nice work; I like your oranges, reflections on the sugar bowl and folds in the cloth particularly.  The secret for edges is: learn to get your edges right wet in wet, or paint a little smaller; but you already know all that as do I; the problem is the clash between knowing and doing.  Can you tell us the significance of the ballet dancer figurine and who Lisa is?  I am always curious about what prompts a painting.  Stu

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