I lay the paintbrush down, resting it with the tip suspended, and take a few steps back to get the full effect.
“Shit!”
“What’s wrong?” Chris calls from our bedroom.
“Everything! I’m such a hack! I might as well title this one Stilllife of Shit,” I respond. Crap. Feces. Excrement.
All my flaws are so obvious. The color combinations are garish. Why did I think a Cerulean blue tablecloth would evoke “Paris”? The brushstrokes are massive and amateurish—a mockery of Impressionism rather than an homage.And fruit! Heaven help me, why did I use a cliché like fruit as the centerpiece? I start criticizing the canvas out loud as I hear Chris’s footsteps come to a stop behind me.
“So quit.”
He says it as if quitting were an option. Well, that would make life so much easier, wouldn’t it? I close my eyes and sample freedom, wondering what I else I could be doing right now.
But he knows I can’t just stop.
“Their anniversary is next month. I only have a month left to get this right,” I explain. We’ve had this conversation so many times.
“Is there a wrong and right in this case?” he asks.
“Of course, there is. Wrong is…well, it’s like that saying about pornography. I know it when I see it. And this,” I wave wildly at the painting, “is completely wrong.”
I’ve been working on this for over a year, a few months after Chris and I moved in together. My brother and I had agreed to celebrate our parents’ fiftieth anniversary with a grand reception. Our tour of The Grand’s facilities ended in a foyer decorated with faux Impressionist paintings. That’s when I had the bright idea to paint something special for the occasion. I should have known better than to take inspiration from hotel artwork.
Now three failed canvases, painted layer over layer until their surfaces mimicked stucco, sit in the closet a few feet away, my graveyard. This new one will join them when the final layer dries.
I drop onto the futon we keep here in my studio and hang my head. Hands slip beneath my hair and massage the sides of my neck; I can feel the knots resist his fingers.
Fifty years. When my parents talk about their life together, one of the moments they keep coming back to is this one: a light breakfast in Paris on their honeymoon. Strange, really, how this quiet interlude stands out so strongly for both of them. They describe it with awe…not just romantic but transcendent, their connection almost mystical.
That’s what I’m trying to capture here. They’ve long since forgotten the tiny physical details. So I long to immortalize the sensation, if not the actual experience, for them.
Because it has been my heart’s talisman. Because sometimes when they look at each other, I see the connectedness wash over them anew.
Chris knows about this story. But I sit back and tell him again anyway because I need to hear it again. Need to refocus my motivation.
“If you’re just painting for your parents, it doesn’t have to be perfect. You’re being too hard on yourself.”
I know he’s trying to help. I can’t bring myself to speak.
“That landscape you painted in October was pretty,” he continues. “The field of lavender with poppies. I bet they would love that one.”
“Salvia, not lavender. And that one didn’t get what I’m trying to convey at all.”
“You see, that proves my point. You’re obsessing, Dee. Shake your head at me all you want. It’s true. Ease up, would you?”
“As if it were so easy!” I throw my hands up, then grab my brushes to go clean them.
“My love,” he says, as he touches my shoulder, stopping me at the doorway. “There’s more to life than this one painting. Your parents will love whatever you give them. If you paint it with joy in your heart, so much the better, but don’t sacrifice everything else you have for this one thing.”
“You’ve met my father,” I say. “He’s not the romantic type. He’s reserved, practical. Do you know that he once described that moment—that little tête à tête—as the most perfect moment of his life? Even the births of me and my brother don’t quite compare, he said, because he was so worried about us and our mother. That moment in Paris, though, held for him such unencumbered joy, a joining of hearts and minds that he never thought truly possible. My father.”
“You’re not going to be able to capture that on canvas. That’s their memory, not yours. I don’t even know if the kind of experience you’re describing could be depicted in a painting.”
He doesn’t understand.
And suddenly I realize what’s wrong, what’s been wrong since before I even started this gift for my parents.
I hear his sharp exhale as I brush past him to pull a new canvas out of the closet.
“Dee! It’s enough already. Just give them one you’ve already finished!”
But as I set aside the blue painting and look at the clean, fresh surface in front of me, I can already see what I need to do. I can practically smell the plum blossoms and hear the clink of the coffee spoons as one is rested on the other. I see their hands just past the edge of the canvas, touching.
As Chris stomps out of the room, I set aside the conversation we will need to have later. For now, I need to concentrate on mixing the alizarin red, ultramarine blue, and a touch of white, to establish the scene perfectly.