You are very good at seeing compositions on the run, Allan. Whatever happened to the one in the elevator?

Speaking of Degas, I'm going to take another look at his work with this in mind.

David, thank you! That's very amazing and wonderful that you saw all these things in the painting. :)
No, I wasn't at all--but when I was a college student majoring in art history, I fell in love with Vermeer's work, and that painting was one of my favorites! It still is. I have no doubt that my favorite works are imprinted on my brain, and show themselves in various ways in my art. I never would have noticed the similarity, though, until you pointed it out, but now I can definitely see what you mean. I like the way Vermeer used the curtain as a formal element, establishing the foreground and also as a device to let the viewer know he/she is a voyeur watching the scene unobserved.

Alex, I recognized this lot immediately! This painting makes me want to slide up the arp and somersault in the picture to hear the music of this trio (I am sure the musician on the wall is playing too).
What a great light and atmosphere, the painting is so strongly bond, every single bit belongs to the ensamble, be it skin, metal fabric or wood.
Just beautiful
Ilaria

Ilaria, just come on in, slide up the harp and make yourself at home! Actually, I'd love to see you arrive that way!! I knew you would recognize my kids. They look pretty much the same today. (By the way, after we met at the Tate, they kept saying how nice you were.)

Thanks for the compliments on the painting. Your approval means a lot.

What a very convincing sense of space this painting has! The protagonism of the boy is heightened and helped by the figure of the girl-- I think if she were not where she is, the composition would not be as effective. It is also very impressive how, given the size of the painting and therefore consequently the size of the boy

Dear Alex,

My goodness, this is a wonderful painting! I did a real doubletake, because as you know Alex, I have visited in this room many times, and know your two subjects as well! This is very real and natural to me to the tiniest nuance. You are an amazing painter! Bravo!

Is there a recording too? :thumbsup: :thumbsup:

Garth

Thanks, Carlos and Garth!

Carlos, you are right that my daughter leads the way into the painting. I had first thought to only paint her playing the harp, but I think that idea ended up evolving into the portrait known as The Young Harpist (probably because that girl's dress and harp are so spectacular). This evolved another way. After all, when a violin and harp play together, the harp is the accompanist. So it makes sense that your eye goes towards the violininst. It was pretty intuitive while I was designing the composition, but it's clear to me now (thanks to you all pointing things out)!

Garth, thank you for your vote of confidence-- it is reciprocated! I'm glad to know you think the room looks natural. I spent a long time and many repaintings getting the color right. For some reason, maybe because our house is rather dark in the evenings, the value changes and exact hues (especially in very dark values) were very difficult to balance. As for recordings, we probably do have a video of the concert when they played the duet. Do you think I should attach sound to this painting?

Alex,
what a beautiful compositon!
My eyes jumped immediately on the violonist and I was surprised by the intensity of his concentration ( I even imagined the music...so maybe no need to attach sound). The contrast with the quiet athmosphere around, even the harpist is really great.
Wonderful exemple of a successful composition supporting a subject!

Hi Marina--I was just kidding about attaching sound. Imagining the music is really so much better.

Thank you--I'm so glad you like the composition!

Alex, what a beautiful work! Your kids will probably end up fighting over who get to keep this nice painting when they are adults.