It's a real honor to be here today. This is a piece of Boston. This is history. This is, the title was born 150 years ago, 152 years ago, I guess. A lot of things have died away in the world of modern pain. They've come, they've gone. There's been a large flash, a lot of noise. But we're looking at something that hasn't gone away for a really good reason. And that's the, you're seeing the personal observations, the discovery of beauty when you're looking something in the face like some daunting judge. And are we still talking beauty when we're looking at a judge? It's a very specific way of thinking, a line of thinking. But it's impression is based. It's impression is a meaning what Velázquez meant was painting what you see and drawing forth from it, the beauty and really trying to get to the view or the beauty of what you see in front of you. This is a very personal approach to painting, but has everything to do with what you, with your interpretation. And it isn't interpretation in the simple sense. It's long observation. Painting previously and much painting previously, not all painting, but believe me, because this goes all the way back, was based on studying the model, the human and creating your own human. These guys are painting directly from life. This picture is in a book that you don't get this picture. This is pretty close to what was happening there. This slide isn't diffused enough, but you begin to see the full magic of the impression of this world. You don't have any idea if you don't get this into a bright enough light. You don't have any idea the color shifts to that small section called the face there. And this picture is just delightful with that kind of stuff. And by the way, his idea of painting is put down a touch and leave it. He used the expression mosaic, every area its own color and its own value, isolated from every other area. One of the things people don't recognize about what we're doing when we're trying to paint is we're trying to actually make the human face the feature. So when her face blows like that, it isn't because he made it glow. It's because he made it glow, but he set her up in the setting. So his gamma would say, if you didn't set it up to look good, it ain't going to look good when you get on copying it. But one of the things that this kind of painter has found is that there is a thing called the visual order. There's actually an order in which things come to your eye. So we were taught as students to paint things as if they were coming out of a fog. It means actually there's an order to painting. There's a first thing to do and a second thing to do and a third thing to do. Do you see what I mean? So whereas a lot of people in the self-taught world will go and say, all right, we'll do a nose and we'll touch an eye to it and prison will have a face and we'll gluby gluing things on like that. They specifically were teaching you not to do that. So what they're doing over here is they're setting up three or four color notes. They're getting their darkest darks in their lightest lights. And they're getting the most chromatic notes. And they're just setting them on the canvas and having a look. But so what you're doing is you're going to set that dark turquoise over there and the kids shirt over here, some color notes for the skin tones where the face is going to be and you're going to be just hitting some notes. Now if you blur your eyes and look at that, you'll see something's truly disappear like the whole table goes away, right? But nevertheless, so that gets you an idea. Now if you look to the left of a little drawing there, which you see is for that picture, you'll see a whole lot of that drawing isn't drawn. And so we're talking this idea of lost and found. And lost and found is very fundamental to the same thing, to the idea of coming out of the fog. Lost just simply means that in this moment, in this painting, we aren't working there. All we have in front of us is darks and lights and the patterns they make. If you take any of those paintings that are highly lost and found and put them in black and white pictures, there's just an amazing mystery to the way the lost and found is losing and finding. It's just a, well, one of the things that's fundamentally happening is in that world when you start seeing a sharp edge, your eye actually innately picks up the set of the sharp edges. And when you see a red, your eye innately picks up the set of the edges and the music starts. Now if I take myself all the way over to that still life, I would suggest you that's a one day picture. And don't treat it badly saying, well, you know, is he that bad a painter? When you lay in a painting, this will give you a very good idea of what we've been talking about. When you lay in a painting, these are the sorts of things you'll see and there are a lot of things you won't find in this picture yet. And yet you'll look at this work like Judge Hammond's face or as the hand or whatever, you'll see the level of articulation. He's not in any way limited to bringing on more and more, to bringing forth more levels of detail in smaller and smaller areas. It's tasteful as heck in color. And the whole thing, all the time, you know, the big, you know, the Boston School, big smash of life. One of the things that comes across the more I look at this picture, the more I get a sense of justice, as much as I get a sense of Hammond. So there's this man here who obviously spent his years, his whole life was around something related to the law and right and wrong and good and evil and all that. And there's something coming across in his face that makes me think those thoughts or reflect with him. So was that in his mind? It is. Whatever your, whatever as a painter is in your mind is going to come through on these canvases. But nevertheless, we're looking at a moment in history and this is 100 years, but I'm very pleased and thrilled to have been, you know, I can do it for some others as well, to for this kind of information, kind of pleasure, you can only get by long observation in the woods, shall we say. So thank you all for being here. Thank you very much. Thank you.