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Amy is not going to be a pawn in her game.
She took many photos of it from different angles as the sunset approached. The colors were vibrant and the crashing waves gave a surreal feel to the whole setting. This would be her next painting, she thought.
After Julia had taken at least 30 photos, Cliff asked, "What's special about this scene?"
"To me, there's a conflict."
"Yes. Most all of my wildlife paintings try to capture a moment of conflict or just before a conflict. The coiled rattlesnake is warning the observer not to come closer. The grizzly is attacking; the coyotes have gathered and are warily looking for an opportunity to attack. The wolf is studying the observer as a possible meal; the prairie dogs are in various stages of alert and expect an attack at any moment."
"I understand all of that, but why do flowers present a conflict?"
"It's the contrast between the flowers and the crashing ocean waves. The flowers are peaceful and quiet. Their showy colors are heart-warming and just make you want to sit down among them and smell their fragrance and study their blooms. The crashing waves are dramatic, almost angry and threatening. The observer will feel fear as they see them and that presents a strong contrast to the peaceful wildflowers. The conflict is within the observer."
"Oh, I think I understand. It's not that the painting is showing a conflict, like a fight; it's creating within the observer the feeling of a conflict."
"Exactly. It's all about the emotional connection with the observer. Some people make the connection and the painting becomes an emotion-inducing object for them. Others don't make the connection and walk on to the next painting."
"You're saying that the painting must create a personal experience for someone to admire and buy it."
"Think about it. You walk up to a painting and it's nice, the colors are good and may go with your decorating scheme. But unless it stirs your soul, capturing your emotions, you're not going to pay the money to acquire it. Fan posters, for example, stir the feeling of pride, of your team versus the world. In your mind, the image of the grizzly, for example, represents the character and fearlessness of your team."
Julia took a few more photos before resuming their walk.
"Jules told me when you went to the ladies room that you were going to become a very wealthy young lady."
"With his help, I might. Does that concern you?"
"Of course not."
She took his hand and said, "I don't believe you."
After several moments, he replied, "There's that Wyoming directness again."
"I can't help it. Ever since Jules came to the show, I've noticed subtle changes in you. I think there's a part of you that's not happy about all of this."
They walked on for several moments before Cliff replied. "Seriously, Julia, I am very happy for you. That takes a lot of pressure off you running the ranch."
"Sweetheart, this is not a me or you situation. We're partners in everything. I need you more than ever. I just have the feeling that you're having second thoughts."
"I don't know why you feel that way."
"Cliff, you and I both came from a traditional background. Our dads made the money in our families and took on the role of breadwinner and provider like their dads before them. We are both very comfortable in that family structure. Now, it looks a little different with my art bringing in a lot of money. That concerns me and I'm sensing it concerns you. The money will create a much more comfortable future for us but if it's a wedge between us, I'll stop painting right now. You mean much more to me than painting."
"I could never ask you to do that. It's your passion. Julia, I really don't know why I feel like I do. Maybe it's jealousy, maybe it's the feeling that you really don't need me or that I will end up being dependent on you. I just don't know."
"Sweetheart, all of this was unexpected and is new to both of us.