After everybody’s had a chance to look at all the pictures, one way or the other – travelling to Jim’s studio and the gallery where his work is shown, it was Bob’s turn to shine, so Jim went out to his studio to decide which paintings will go in the show, and where to put them.
Jim had been working with a scale drawing of the gallery space at the Marietta/Cobb Museum of Art, and had taken the measurements of all the paintings he wanted to put into the show, and had been playing around the the placement, just like you’d draw a diagram to figure out how you wanted to rearrange the living room. Unfortunately, his studio assistant lost the photos of the various arrangements he was working out, so we’ll pick up at the studio of Robert Meredith, Master Painter(tm).
Here’s Bob, with Jim’s mockup in hand, impatient to be inside and scheming over placement. Jim’s holding the folder he’s been keeping his lists of paintings and measurements, as well as a bunch of little to-scale cutouts of all the paintings he wants in the show.
This is Bob’s studio, where he creates his wonderful paintings. You can see his pallet on top of the chest of drawers to the left.
Bob has made photos of all the paintings he’s interested in. As expected, his list and Jim’s were different.
Jim’s scale drawing is on brown paper, and he’s fiddling in his notebook for the cutout to-scale representations of the paintings he wants. Bob is sorting thru the paintings he wants.
Bob has made his own scale model, painfully small, and they’re trying to figure out where to strt.
There are so many paintings to choose from, and one of the problems is identification. There are a lot of bathers with white gowns.
Bob had things all figured out from the point of view of the largest impact on the viewer. Jim wanted to feature his most important paintings.
Not sure if you can read this; Jim sure can’t. But Bob knows what it says. You can see here that he has split the works up into categories, for instance the ‘girl room’ up on the top right.
They’re such old friends.
It became apparent that Bob did not have all the latest paintings Jim had been putting up on this blog, so they went back to the computer and had a fresh look. It’s not surprising he missed a few, there are hundreds of pictures here.
Joined for a few moments by Bob’s wonderful wife Brenda. Jim is making new scale representations of the paintings Bob’s just saw on the blog.
They’re working thru the paintings just like Jim did at home, but this time they’re using tape to fasten them down, because this is a final step. And boy did it take all morning and half the afternoon.
It took so long, in fact, that Jim’s hapless studio assistant was forced to stalk Bob’s peacocks and chickens (thanks for the duck mayonnaise, Bob)
These are the categories Bob had put his selections in; the trouble is that it’s very hard to categorize Jim’s work.
Tho it’s hard to read, Jim’s got the working titles written onto scale models of the paintings, and in some cases where he had no model, he has drawn an indication of the painting on the brown paper.
Here are several stages of their work.
Even tho we all know it’s going to change before it gets finalized finalized, and when the paintings are brought to the museum for hanging, it’ll change again.
Notice the lovely tronp l’oeil work Bob does, mainly antique toys and shop windows. Exquisite work, and he’ll do you a deal if you call in the next 30 minutes. Prices are rising quickly in this market, so act fast.
And this is what they ended up with. The blank spots on the top left are actually marked ‘etchings’ in pencil, since these etchings must be framed, so Jim has to wait to make scale models until there’s no point in doing so.
The next step is to frame the paintings that need it – more than one or two – and make sure the paintings are in good shape, no dings in the frames, no scrapes on the paint surface.
The important next step is to write up something informational on each painting, as well as a general piece about Jim’s painting methods and his media – because Jim makes all his own paints and has unique painting methods that people will be interested in reading about.
The vital next step is to complete a spreadsheet with all the paintings and their exact sizes, so the museum staff can run them thru a program and figure out exactly where on the wall to hang them. They also need the individual painting descriptions for the museum guide they will be producing and for the wall cards that go with each painting and here and there around the gallery.
It’s going to be a lot of work, and you won’t see much of it until the show, but we’ll chronicle it here on the blog, and will probably put up a blog-catalog of the show nearer the opening date.