Commenting about the process he used when creating a painting, Gene Gould wrote:

   "Although I also paint from real life whenever I can, many of the paintings that I make are derived from images that I have either seen or dreamt. The way the bits and pieces of the images are applied and organized on the canvas is done in the manner that seems best to me as I explore my ideas, and as the painting develops.
   Every successful painting acquires an identity of its own, hopefully at a very early stage. My efforts from that point forward are involved with refining the colors and placements that contribute to this emerging "presence". I add elements that increase the presence of the painting, and I remove elements that detract. One must be very humble during this process because the magic can be lost very quickly, usually by painting too poorly, but sometimes by painting too well."



By taking photos at various steps during the creation of some of his paintings, Gene Gould gave us the ability to view how these evolved over time. Here are some interesting examples:


Sequential stages of the creation of "Alexander the Great"




Sequential stages of the creation of "Angel in Red"




Sequential stages of the creation of "Painting Angel"

Gene Gould left comments entitled "Empty canvases" regarding the process he generally used when starting a new painting, and what happened in the case of "Painting Angel":

   "Staring at a blank canvas is one of the least enjoyable situations a painter can find himself in. Is there something hidden on that silent, flat, rebuking surface - living, breathing images waiting to emerge from nothingness to join us in our world? Michelangelo said that the sculpture is already fully formed in the stone - that it was simply a matter of removing the parts that didn't belong to it. And so - what painting exists on this canvas - that only needs paint strokes to elucidate it? Does one need to search for the right stone, the correct canvas - the ones with the embedded greatnesses? Or will any stone or canvas do? Why do such thoughts fill your head when all you want to do is make a painting on a defenseless bit of stretched cloth? You must attack the cloth - nothing else will work. You have to put your mark on it - something to claim it for yourself. I usually smear it with paint thinned with turpentine. Sometimes I do a nice neat job - sometimes I do a messy job with ghosts left floating here and there like tormented clouds in a burnt sienna sky. And then I dream a little, with my thoughts floating like my swirly, rubbed-on-clouds. I stand aside while images shuffle around on the canvas - quietly hoping they will end up in interesting places and stay there long enough for me to put paint around them.

   But when I began this painting, I painted in two people who were simply passing by and had to let them go, with due apologies of course, after discovering my mistake. Then someone else appeared, someone very much involved with something. The next thing I knew, he had a brush in his hand and I began to wonder what he would do with it. As you can see, he began painting a model from the foot up. And on his easel appeared a painting of a person watching him paint the model. Somewhere along the line, he became attached to big pink wings through which can be seen the farmlands of his youth."





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