# 11: Freedom Revisited

"Street Scene"

"Street Scene" (detail)

"Street Scene" (detail)

Two Commerce Square exhibit

Two Commerce Square exhibit

Fellow Art Lovers:

You've been lucky enough to hear me talk several times about freedom, that feeling I get when I'm slashing left and right, up and down, and every which way, with either a brush or a palette knife. It's the emotion I feel when I'm sure and confident, every stroke seems right, and a work seems to create itself in front of me. It's that hormone rush that carries me for a time I don't even see passing.

A few blogs ago, I talked about how I feel this with a palette knife when I paint landscapes in Normandy. Well, a while ago, I was asked why I didn't use the same technique on urban landscapes here in Philadelphia. What you see above, "Street Scene," is such an attempt.

The painting isn't bad. I felt all the right things. Of course, if you ask any artist about his or her painting, and you'll hear someone tell all the things they wish they could have done. I'm the same. I'm constantly reminding myself to simplify, to achieve more power through more unified statements, larger spaces, stronger contrasts, less detail, big ideas and objects. But this is a good first entry in what could be considered a different genre for me.

What do you think? (Do you know that you can enlarge the photos above by clicking on them?)

A new subject: The exhibit of my Normandy landscapes at Two Commerce Square, at 2001 Market Street, Philadelphia, between 20th and 21st Streets.

The last time I sent out a message signaling the show, I made a hash of my e-mail. I just want you to know that the exhibit is going fine, and it will be there for another two months. Last time I mentioned that the poster announcing the show had not yet arrived. Well, it's there, and it clearly says the spring show is sponsored by the Thomas Properties Group and the Philadelphia Museum of Art. And it even mentions a little information about me. I've included a few photos of it.

Until next time. Thanks for listening.

William Kosman