Entries in Blue Ridge (1722)

Tuesday
Sep222009

Sunset, Tuesday, 22 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

Day 3 of the ‘Mostly Cloudy’ Sunset Hostage Standoff ... with rain.

Today’s the 12th anniversary of the first of the consecutive daily sunset paintings – 22 September 1997. Of course, today’s also the autumnal equinox, just as the 22nd was in 1997, the reason I had decided to start on that day.

I’d been painting sunsets and sunrises since 1995 and don’t remember any great deliberations, or any particular design or plan, behind the decision to try painting every day. I don’t think I understood, on any sort of conscious level, why I was doing it, which probably helps explain why, after I’d painted every sunset through the end of 1997 and then all of 1998, after New Year’s Day 1999, I stopped.

Even after starting again, on New Year’s Day 2006, I still don’t think I had any clear or explicit idea what the significance of this daily observance might be. I was painting largely on intuition.

You might say the paintings are a direct response to the days themselves. I painted the sunset because the sun was setting.

Monday
Sep212009

Sunset, Monday, 21 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

I think I might be issuing my final report of the year about sumac, having opened this little can of mysteries in two posts, on July 29th and August 5th. As I have previously observed, sumac is quite the hot topic ... somewhere ... maybe. I actually did receive one note of appreciation from a reader who, while I guess she didn’t describe herself as an outright fan or aficionado of sumac, at least didn’t consider the subject to be beneath notice. Or maybe it would be more accurate to say she didn’t seem to consider it beneath the standards of this blog.

Anyway, today on my walk with Flint, as we got down near the [Rivanna] river, in the so-called Scrubby Field, I realized that the ubiquitous sumac trees or bushes had gone through many of their changes for the coming autumn, including their leaves beginning to turn bright red. In the plants that had originally caught my attention – which turned out to be the females – with their flower clusters changing from small green dots to magenta buds emerging out of gold petals – the clusters had over the past several weeks turned a sort of violet raspberry, then a deep red grape, and now a dark rust red. In the middle of that sequence, the buds seemed plumped with life, with a vibrant slightly waxy sheen. They still retain some of that healthy shine.

Meanwhile, you might recall I was beginning to realize the fields were also filled with male plants, with clusters that looked generally similar to the others at first, except instead of fat furled buds these were rather simple yellow flowers, each with five gold stamens. At one point during August I couldn’t walk through the field without wading through shoulder-high braces of yellow sumac laden with buzzing bumblebees and honeybees, the bees stuck all golden underneath with pollen.

With the passing weeks it became clear that the male flowers were being pretty much devastated and laid low by the pollen harvest, while the female sumac clusters were attaining the height of their beauty. I really don’t want to give Camille Paglia any more reason to gloat, but the guy flowers were wasted – looking literally burnt down to dark nubs.

Now the male sumac trees have no flowers at all, and the female trees are showing the shaggy dark red clusters so familiar in autumn.

And since there’s an obvious male-female subtext to this story, I can’t resist mentioning one more thing. Weeks after I ‘discovered’ these (to me) exotic sumac phenomena down by the river, about three miles from the house, I found that the whole time we had both kinds of sumac right outside the entrance to our front yard, where I had passed them every day without noticing.

Which illustrates (perhaps) that Man (or man) will sometimes pay attention to things only when they’re found elsewhere, at a distance, and miss them if they’re right in front of him.

Hear, hear! (Here, here.)

Friday
Sep182009

Sunset, Friday, 18 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

So my friend Sarah Bruce was very enthused today about Stephen Fry, writing to me about him and also talking about him on her blog, and of course one of the things she said was (not that she would ever put it like this), ‘OMG am I the last person on earth to discover Stephen Fry?!’ to which I say ‘HAHAHA Sarah! – uh – well, actually, no – I didn’t know a thing about him until I got your e-mail!’

Which is a little bit funny because I now find one of Fry’s literary heroes is the late P.G. Wodehouse, who was one of ‘my’ authors when I worked at Scott Meredith Literary Agency in the early 1970s. I even got to speak with ‘Plum’ – then around 92 years old – on the phone! – a rare sort of thing in a business where we editors who did much of the real work were kept hidden from celebrity clients.

(Norman Mailer presumably never knew I was the only person to read his somewhat inflated manuscript for Marilyn – I was sequestered in a quiet corner for a day to read at top speed and report back so Mr. Meredith could tell Mailer what he thought of the book. Scott told me he told Mailer I had read it but, literature, show business and Scott Meredith being what they were, this was almost certainly not true.)

Anyhow, I digress – my favorite hobby. The British TV series Jeeves and Wooster, in which Mr. Fry co-starred, was of course based on the P.G. Wodehouse Jeeves books and stories.

The Stephen Fry post Sarah particularly wanted me to read had to do with the writing process. Fry says:

Many writers are, like me, fascinated by process. From an early age I wanted to know whether authors worked by morning or night, whether they typed or wrote by hand and if so on what kind of paper, whether they had their backs to the window, drank wine, sat, stood or lay on their backs with their legs in the air.

This set me off on a bit of a rant. Probably much of it is just posturing about things Fry might really agree with, but here, slightly edited, is what I said to Sarah:

I’m in such a funk about what I write ... I can’t tell today where I am on some of the things Fry talks about. I know I don’t find ‘process’ interesting in the least. I pretty much don’t care how anyone writes, just what. Isn’t that interesting (the difference)? That doesn’t mean I won’t spend ungodly amounts of time considering whether to buy a pink notebook or a green one, or both, and if I buy both, which one to write on TODAY – etc., etc. But I’m all about enjoying the results. This is true in painting, too. Process schmocess, I’d be happier if there were none! (Not true, but it sounds really outrageous, doesn’t it?) I become fully engaged in the process of painting – as you’ve seen, I get paint out of my brush by painting stuff out on my shirt, on my hands, my face, I end up with six brushes in one hand and three in the other, I walk away, run back, sit, stand, lie down, kneel, I get completely lost in it but I don't think it’s the interesting part. It’s not what it’s about. This is very unfashionable to say but I like the destination a lot more than the journey, meaning: I really live for the creation. The thing that results from it all. If it’s true, or if it’s right, then I have the pleasure of enjoying it just as much as anyone else. It seems like something apart from myself, something really unexpected – like, wow, how did THAT get here? I still feel that way about some things I did 35 years ago. So for me the creation becomes a sort of permanent talisman, not just a keeper but a keepsake that keeps on keeping on – that nourishes, supports, encourages, inspires me to ... to what? ... to put up with the [expletive deleted] process!

Wednesday
Sep162009

Sunset, Wednesday, 16 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

It’s not cold at all but an autumn breeze has been trying all day to move the calendar, getting underneath the masses of still-green oak leaves as if to use them to flip the landscape over like a page going from September to October. Tall thin grasses in the field are tipped bronze and copper, so the farther away the field, the more metallic. Fields in the distance have turned like fields of the future.

Tuesday
Sep152009

Sunset, Tuesday, 15 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

Every once in a while I look for events that might be worth commemorating. Today there were things like Napoleon reaching the Kremlin ... hmm, no ... Confederates capturing Harpers Ferry ... interesting, I guess ... Germany adopting the swastika on its national flag ... hmm – oh, O.K., here.

1963. The 16th Street Baptist Church bombing in Birmingham, Alabama.

Not to be forgotten.

Blue cloud, rose light. Crystalline web, smoke ribbon. Strange that something so absolutely common as atmosphere should seem so infinitely complex, in the form of the sky.

Monday
Sep142009

Sunset, Monday, 14 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

The analogy between sunset and a home run can be difficult to avoid.

I’ve been trying all evening ... just can’t escape.

Going ... going ... gone! ... over the wall ... clean into Tuesday.