Doubly Cursed: Process Paintings

I’m working on what I hope will be final drafts of my novel. The book is called Doubly Cursed. I’m working on a concise summary, since I’m preparing to pitch it at the end of next week. Once I’ve concocted one, I’ll include it.

The first half of the book is set in late 19th Century Poland. The area I’m focusing on was in West Prussia then. The village is Czarny Bryńsk, which is the last place my Górzyński ancestors lived before they immigrated.

The main characters? The Górzyńskis, of course. Absolutely fictionalized. Mythologized, even.

The Górzyńskis were woodsmen, and carpenters. In order to access an intimate know of woodworking and building in Poland, I did paintings. All of these paintings are based on photos that I took during my 2018 visit to Poland. One is based on a building still standing in Czarny Bryńsk. The others are buildings from the region and the period, now located at the Museum of Folk Architecture, Olsztynek, Warmia and Masuria, Poland, Europe.

In order to imagine locations, I painted a map. I need to redo this. I have a different picture of the landscape now, and the relationships between the villages. I’m simplifying an important village relationship in this painting above. Czarny Bryńsk means “Black Bryńsk.” I’m only calculating the relationship it had to Bryńsk (mid low right quadrant), but I now guess that Bryńsk and not Górzno was the usual market town for someone in Black Bryńsk.) I had to rewrite some stuff when I figured that out.
Czarny Bryńsk house, from the time period of the book. The last time I checked, it was an Air B&B. Czarny Bryńsk has very few residents now. It houses the offices of the Górznienńsko-Lidzbarski Park Krajobrazowy. (Gorzno-Lidzbark Landscape Park.). It is surrounded by amazing parkland.
Interior Shot. Early painting.
Through The Window. My first attempt at a Polish landscape,

Long Front.
Out Buildings
Stone House
Village Church.
Fenced in Village Grounds
Polish Mill

2 thoughts on “Doubly Cursed: Process Paintings

  1. Pingback: Process Paintings, Continued | Mary Louise Hill

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