The First Woman Seated On A Rock In The Shallows With Her Body Turned Three Quarters Toward The Viewer And Her Left Arm Braced Straight Down Against The Rock Beside Her Hip And Her Right Arm Resting Across Her Own Knee With The Hand Relaxed And Both Of Her Arms Kept Low And Away From Her Head, The Second Woman Standing Directly Behind Her In The Water And Forward With Both Of Her Own Hands Working The Wet Hair Of The First Woman With Her Fingers Spread Through The Strands And Both Of Her Arms Reaching Forward From Her Own Shoulders And Her Head Lowered Toward The Other Woman, And A Palette Of Warm Ochre And Burnt Sienna And Lead White And Pale Blue Grey And Cool Umber And Soft Rose And Lavender Porno IA

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Oil painting on stretched linen in the nineteen thirties American figurative tradition with visible brushwork across the surface and the paint built in glazed layers over a warm burnt umber underpainting and the highlights worked up in thicker impasto strokes of lead white and fine craquelure webbing the older varnish, exactly two women in a shallow river at the edge of a wooded bank with exactly two arms on each woman and four arms in total across the two figures and no additional limbs anywhere in the composition, camera pulled in close so the figures fill the majority of the canvas and framing cropped at the waist so the whole scene reads within the frame and both faces rendered in fine detail in the upper third of the composition, the first woman seated on a rock in the shallows with her body turned three quarters toward the viewer and her left arm braced straight down against the rock beside her hip and her right arm resting across her own knee with the hand relaxed and both of her arms kept low and away from her head, the second woman standing directly behind her in the water and forward with both of her own hands working the wet hair of the first woman with her fingers spread through the strands and both of her arms reaching forward from her own shoulders and her head lowered toward the other woman, the first woman with a direct steady gaze and dark eyes and a calm unreadable expression and high cheekbones catching a scumbled highlight and a fine jawline softened with a dry brush and full lips in a muted rose built up in glazes of crimson over the umber ground and the individual texture of the skin suggested by broken strokes across the throat and the collarbone, the second woman with her head lowered and her eyes on her hands and her lips parted in concentration and her own hair hanging wet across her shoulder and the light catching the line of her brow and the edge of her jaw, both women with deep brown skin modelled in warm ochres and burnt sienna and the shadows deepened in transparent umber and the half tones carried by scumbled greys and the highlights worked up in warmer cadmium and the wet skin suggested by glazed passages that pool along the curve of the shoulders and the arms and the ribs, the first woman with black hair parted in the center and falling wet across her shoulders and a single feather tied at the crown and a strand of shell beads at her throat and a beaded band at her left wrist, the second woman with black hair gathered loosely at the nape and a strip of red trade cloth wound around it and a pair of bone hairpipes at her ears and a leather band at her right wrist, the water around them rendered in broad glazed passages of pale blue grey laid wet-into-wet and the surface broken by slow rings spreading from where the women stand and the shallow gravel visible beneath the surface along the near bank and a cluster of stones breaking the water at the lower edge, the bank behind them rising into a wooded slope with the trunks of cottonwoods standing bare along the waterline and a fallen log stretching across the middle distance and a bundle of clothing and a folded trade blanket resting on the grass and a bow and quiver against a tree trunk, the sky above pale and open with long bands of cloud scumbled across the blue and the far hills glazed in soft lavender over a pale grey ground and the treeline receding into a mist along the river beyond, warm skin tones built from ochre glazes over the umber underpainting and the highlights lifted with warm white, a single diffuse light source from the sky above and behind the figures catching the tops of the shoulders and the backs of the arms and the upper edges of the faces and leaving the front of the composition in soft shadow with the transitions carried by the blending of the paint, reflected light bouncing up from the pale water and lifting the underside of the arms and the line of the jaw, mist suspended over the river in scumbled passages and the far distance softened with a dry brush dragged across the surface, museum lighting raking across the canvas at a low angle and picking up the texture of the paint and the weave of the linen, a gilded frame visible at the very edge of the composition, and a palette of warm ochre and burnt sienna and lead white and pale blue grey and cool umber and soft rose and lavender

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