A strong case is made here for painting a picture strait through in one session, without correction or addition. The two primary forces at work , as in many painterly outings; expression and description. The former, a painters need to get it out and lay it down. Pure expression; the crucible of the unknown, unconscious channeling, welcome accidents, a vehicle of change and movement. One may approach the easel with uncontrollable need ,an intensity which can manifest genius, or unruly results. Description, when carefully employed a faculty that conveys the illusion of reality. A many paged book of techniques and tricks with chapters including light, shadow, proportion and contour. Most post painters move between these two polarities usually declaring an allegiance, claiming the distinction of a purer essence for one or the other. Such has been the timber of considerable published art criticism and art school lines drawn in the sand. A prolonged hiatus preceded this picture, my need was considerable .Newness if not uncertainty counseled caution, barely taming the eagerness of one returning. Doubt, an excellent antidote for arrogance, was standing by, beginning to snicker until I blended the raw umber into the cerulean blue in the background North to South. I felt immediately the Burgundy and Titanium Yellow were going to prevail. The mixing of colors and the proportioning of the muse on the Burgundy Chaise happened quickly accompanied by the appeasement of hunger satiated. The work began early in the morning with Café’ de cocoa and a stick charcoal scratching and breaking over primed gray cloth. The work ended a hard day’s night later with wine glass in one hand a willowy narrow paint brush in the other, lining in red the inviting yellow woman. I proceeded joyfully, at times methodically and without stopping.