As I set up my half-size french travel easel near the carousel on Avenue Trudaine, I’m excited to replicate the paper-towel wash tonal perspective demo that Gregg just performed for us on his own canvas.

I decide I won’t use color today, because I don’t want to sacrifice that raw drawing energy that makes an image sing.

My first painting from Gregg Kreutz’ plein air workshop in Paris with the Art Students League of New York.

People stop by, I practice my French with them, I ask for clarifications in French, no switching to English. People express the joy they feel at seeing a group of painters spread out in the small area the 15 of us have taken over.

Gregg tells me I don’t need to overwork details all over the canvas; that I have a nice balance of large suggested areas and detailed areas; to finish the detail in the middle and sign it.

Thank god he tells me to go ahead and sign it. I’m used to hearing how dumb and old-fashioned I am to think I can still sign the front of my painting. According to New York, I’m supposed to sign the back of my painting and everyone should just know my work cause of the style, and how my signature throws off the composition. I feel very rebelious about this. Don’t take away the moment of satisfaction I get from finishing it with a signature on the front. What bizarre practice is this? “Composition” yeah right. It sounds like more nonsense to protect rich people from displaying who they’re buying.

Please.

Anyway, great workshop.