Impressions of Notre Dame

“As I entered the winding streets of  this section of Paris a different atmosphere became apparent. A feeling; a noticeable re-leaf of pressure.”

Of all the impressions an artist lives with, feelings are the most reliable of his senses. Used correctly it can be a phenomenal tool or lost  to the darkness around him. Walking through those streets helped to clear David’s mind for the painting he had planned. So many others had already painted this outstanding structure that’s nestled on an island in the middle of the Seine river. What’s one more? A feeling of hope and hoplessness together hits David as the Gothic marvel comes into view.

Nearing the island helps David’s spirits gain strength. The noise of the city seems to fade and his pack with paint lightens. Crossing one of the bridges to the island lifts his spirits even more and the packed crowd with their colorful faces and endless words no longer matters. For the past three hours of walking, with his pack of brushes, paint and canvas, he has had time to consider how it would feel to paint one of the most notable buildings on earth. Many times in the past three years of living in France, he and his wife has past by. But more with an attitude of introductory. This was different, this was with feelings, this was with intent to paint.

Passing the building through the gardens and into the street beyond where David can view what is most important for a painting like this. Not the people, they are impressions of noise. Not even the Gargoyles standing watch over the building; perhaps another time, another painting for them alone. What it must have is light bathing the building in glow. David’s paintings have no lines only values of color, the value being the most important of the two. A spray of warm mixed with cool is a must in each of his works of art. All this obtained by the spirit of the moment, feelings of what’s important. David’s  intention is to guide the viewer through the painting as you would guide your lover through the ecstasy of  the night. To be in control of  the viewer and what they look at while standing in front of  the painting. Only by the impact of the view before you can you be impressed and with those feelings you will know what to do.

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