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THE GRAND TOUR

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So the work begins.

As I spent a few months absorbing all of this - the captions, the photos, the book itself, all the research - the ideas for how and what to translate into paintings became kind of a process in itself. Each photo was a postcard perfect image, they were all taken by an accompanying professional photog, after all. So it was less a matter of finding something that will work, than it was whittling down a few that will work the best. In my opinion, anyway.


I had several favorites images that I kept coming back to, but everytime I revisited the album, different details would hit me and I'd rethink the images to use for the paintings. This happened so. many. times. A big part of deciding where to begin for the paintings had to do with scale, so I put aside the question of which images for a bit and started to look at the reality of how much room I had to work with in the gallery. These photos were so awesome, felt so epic, that I wanted to work in as large a scale as I could for a few of them.


Gravers Lane Gallery
Here's an image of Gravers Lane Gallery, where the exhibition will be.

There was one image in the album that had a group shot on the ship leaving from Genoa. It's the Ausonia. I really wanted to a large scale version of this. After mapping out the gallery dimensions, I figured that I had the room to make this one about 7 feet wide, by 5 high. It's a monster, considering it's on a hard panel and will be covered with many layers of wax. But after determining that, I worked down in size and decided that I'd do several at roughly 5' x 4', a few at 3' x 2', and maybe a few miniatures that will represent the postcards of the trip.


Here's an image of Gravers Lane Gallery, where the exhibition will be.


Onboard the Ausonia
Group photo (Captain's Table?) onboard the Ausonia. 1933


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