gri_2003_m_46_b03_f10_032
- Max. dissimilarity: 0.041
- Mean dissimilarity: 0.028
- Image votes: 0.0
Transcribers
- 65778409 - samurai13
- 65879480 - Preacher357
- 65903756 - wm003
- WINNER - 66013828 - coleen12
- 66039072 - WiltedLotus
- 66059921 - bleblob
65778409 - samurai13
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly as I was able, racing with time and the demolishers' picks, enveloped, from time to time, as the steam trains passed, in smoke and smuts. Passers-by paused to look, some silently and unobtrusively, others making comments to each other, or to me. The youthful part of the audience always seemed to be surprised and delighted at being able to recognise my subject.
It was then, for the first time, that I began to ponder, and consider as an interesting problem, the thoughts and expectations of these on-lookers. More often than not they seem rather disappointed, which is certainly not surprising, particularly if the work is only just begun; but it does suggest that they were expecting something - that they had some preconscious idea of how the painting should look. I have tried to put myself in their place, to guess at what is expected. Is it a neat, easily recognisable reproduction of the Brewery, for example, or an enchanting vision of the building, burning and gleaming with colour and light, rising like a Venetian Palace from the glittering waters of the Thames?
The artistry and the technique of the painter should satisfactorily control and contain the main features and diversity of the scene, opening the spectators' eyes to things hitherto unobserved and unrealized. Thus the forces of wind and water, sun and earth, the elements enveloping landscape and architecture, the one-time gods of our ancestors, should be implicitly expressed and overcome by means of brush and paint and held on the canvas for our admiration.
65879480 - Preacher357
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly
as I am able, racing with time and the demolishers' picks, envel-
oped, from time to time, as the steam trains passed, in smoke and
smuts. Passers-by naturally paused to look, some sil-
ently and unobtrusively, others making comments to each other, or
to me. The youthful part of the audience always seemed to be
surprised and delighted at being able to recognise my subject.
It was then, for the first time, that I began to ponder, and
consider as an interesting problem, the thoughts and expectations
of these on-lookers. More often than not they seem rather dis-
appointed, which is certainly not surprising, particularly if the
work is only just begun; but it does suggest that they were ex-
pecting something, that they had some preconscious idea of how
the painting should look. I have tried to put myself in their
place, to guess at what I expected. Is it a neat, easily recog-
nisable reproduction of the Brewery, for example, or an enchant-
ing vision of the building, burning, and gleaming with colour and
light, rising like a Venetian Palace from the glittering waters of
the Thames?
The artistry and the technique of the painter should satisfact-
orily control and contain the main features and diversity of the
scene, opening the spectators' eyes to things hitherto unobserved
and unrealized. Thus the forces of wind and water, sun
and earth, the elements enveloping landscape and architecture, the
one-time gods of our ancestors, should be imlicitly expressed and
overcome by means of brush and paint and held on the canvas for
our admiration
65903756 - wm003
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly
as I was able, racing with time and the demolishers' picks, envel-
oped, from time to time, as the steam trains passed, in smoke and
smuts. Passers-by naturally paused to look, some sil-
ently and unobtrusively, others making comments to each other, or
to me. The youthful part of the audience always seemed to be
surprised and delighted at being able to recognise my subject.
It was then, for the first time, that i began to ponder, and
consider as an interesting problem, the thoughts and expectations
of these on-lookers. More often than not they seem rather dis-
appointed, which is certainly not surprising, particularly if the
work is only just begun; but it does suggest that they were ex-
pecting something - that they had some preconscious idea of how
the painting should look. I have tried to put myself in their
place, to guess at what is expected. Is it a neat, easily recog-
nisable reproduction of the Brewery, for example, or an enchant-
ing vision of the building, burning and gleaming with colour and
light, rising like a Venetian Palace from the glittering waters of the Thames?
The artistry and the technique of the painter should satisfact-
orily control and contain the main features and diversity of the
scene, opening the spectators' eyes to things hitherto unobserved
and unrealized. Thus the forces of wind and water, sun
and earth, the elements enveloping landscape and architecture, the
one-time gods of our ancestors, should be expressed and implicitly
overcome by means of brush and paint and help on the canvas for
our admiration.
WINNER - 66013828 - coleen12
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly as I was able, racing with time and the demolishers' picks, enveloped from time to time, as the steam trains passed, in smoke and smuts. Passers-by naturally paused to look, some silently and unobtrusively, others making comments to each other, or to me. The youthful part of the audience always seemed to be surprised and delighted at being able to recognise my subject.
It was then, for the first time, that I began to ponder, and consider as an interesting problem, the thoughts and expectations of these on-lookers. More often than not they seem rather disappointed, which is certainly not surprising, particularly if the work is only just begun; but it does suggest that they were expecting something - that they had some preconscious idea of how the painting should look. I have tried to put myself in their place, to guess at what is expected. Is it a neat, easily recognisable reproduction of the Brewery, for example, or an enchanting vision of the building, burning and gleaming with colour and light, rising like a Venetian Palace from the glittering waters of the Thames?
The artistry and the technique of the painter should satisfactorily control and contain the main features and diversity of the scene, opening the spectators' eyes to things hitherto unobserved and unrealized. Thus the forces of wind and water, sun and earth, the elements enveloping landscape and architecture, the one-time gods of our ancestors, should be implicitly expressed and overcome by means of brush and paint and held on the canvas for our admiration.
66039072 - WiltedLotus
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly as I was able, racing time and the demolisher's picks, envel-oped, from time to time, as the steam trains passed, in smoke and smuts. Passers-by naturally paused to look, some sil-ently and unobtrusively, others making comments to each other, or to me. The youthful part of the audience always seemed to be surprised and delighted at being able to recognise my subject.
It was then, for the first time, that I began to ponder, and consider as an interesting problem, the thoughts and expectations of these on-lookers. More often than not they seem rather dis-appointed, which is certainly not surprising, particularly if the work is only just begun; but it does suggest that they were ex-pecting something - that they had some preconscious idea of how the painting should look. I have tried to put myself in thier place, to guess at what is expected. Is it a neat, easily recog-nisable reproduction of the Brewery, for example, or an enchant-ing vision of the building, burning and gleaming with colour and light, rising like a Venetian Palace from the glittering waters of the Thames?
The artistry and technique of the painter should satisfact-orily control and contain the main features and diversity of the scene, opening the spectator's eyes to things hitherto unobserved and unrealized. Thus the forces of wind and water, sun and earth, the elements enveloping landscape and architecture, the one-time gods of our ancestors, should be implicitly expressed and overcome by means of brush and paint and held on the canvas for our admiration.
66059921 - bleblob
PAINTING OUT OF DOORS IIIbox in one hand and my brush in the other. I painted as quickly as I was able, racing with time and the demolishers' picks, enveloped, from time to time as the steam trains passed, in smoke and smuts. Passers-by naturally paused to look, some silently and unobtrusively, others making comments to each other, or to me. The youthful part of the audience always seemed to be surprised and delighted at being able to recognise my subject.
It was them, for the first time, that I began to ponder, and consider as an interesting problem, the thoughts and expectations of these on-lookers. More often than not they seem rather disappointed, which is certainly not surprising, particularly if the work is only just begun; but it does suggest that they were expecting something-that they had some preconscious idea of how the painting should look. I have tried to put myself in their place, to guess at what is expected. Is it a neat, easily recognisable reproduction for the Brewery, for example, or an enchanting vision of the building, burning and gleaming with colour and light, rising like a Venetian Palace from the glittering waters of the Thames?
The artistry and the technique of the painter should satisfactorily control and contain the main features and diversity of the scene, opening the spectators' eyes to things hitherto unobserved and unrealized. Thus the forces of wind and water, sun and earth, the elements enveloping landscape and architecture, the one-time gods of our ancestors, should be implicitly expressed and overcome by means of brush and paint and held on canvas for our admiration.