The Oil Sketch

It never occurred to me to make a distinction between an oil sketch and an oil study. There is probably no sharp line between the two. A sketch in paint would be comparable to a gesture study in drawing where marks are quick and impulsive. Turns out I have been doing sketches since I started painting the figure in oils. Some happened by accident as time ran out in a session while others were purposeful with self imposed short time limits.

Oil sketch on linen, 11" X 9", 2008

Oil sketch on canvas, 12" X 7", 2014

As with my drawings, the first minutes of even long term oil paintings start as sketches. Almost no record exists of these. Early paint strokes are quickly covered by more deliberate marks. For the image below I spent most of the session trying to find a good composition. As a result I was only able to get down some very basic brush lines before time with the models ran out. (See October 15, 2014 post)

Two figures (day one), oil on canvas, 42" X 33 1/2", 2013

I have done hundreds, maybe thousands, of pencil or ink gesture studies on paper. I've only done a few purposeful sketches in oil. I balk at the idea of dashing off a painting in less time than than it takes to prepare the surface. This is a terrible excuse for not doing more paint sketches. Practicing quick bold brush strokes for their own sake would be an excellent learning tool. I'll have to figure out a way to do more.

It's over

My art career is over. This isn't the first time I've felt this. My wife tells me I'm prone to hyperbole and have a bad habit of seeing things in absolutes. She also says that every year around this time I go into a slump. Recently some life issues have intruded and I'm having a hard time connecting with my work. At the same time I've had to set it aside a long term painting that turned problematic. It feels like an episode of the Batman TV series … Could this really be the end of Bruce Day the painter?

Reclining Nude, oil pastel on toned paper, 8 1/2" X 11 1/2", 2014

Given the lofty high I've been on lately it's not surprising I've come down. History tells me not to be too quick to count myself out. More than likely my "winter funk" has set in a little early this year. The wisest course would be to try and keep my painting and drawing skills sharp and ride this out.

The Other

My history of showing in galleries and art spaces is rife with unpleasant memories. As a result I have not exhibited outside my own studio/gallery in many years. Recently, mostly out of a desire to see my work in a fresh context, I entered and had two pictures accepted in a juried figurative show. Surrounded by thirty plus pieces by other artists my entries, a painting (pictured below) and drawing, stood out as "the other", almost another species. And I doubt this difference was perceived or even comprehensible to most artists or their audience.

Seated Nude, Oil on canvas, 30" X 25", 2013

The overwhelming majority of todays visual artists have both in method and subject matter firmly embraced the digital world. Photographic images are their substance. It is present in the DNA of their art. I have long been aware of the chasm between this work and my life based pictures but the divide is much wider than I ever imagined.

I'll continue to champion the benefits of working from the real world. My harangues are usually met with blank stares. Don Quixote probably had a better chance subduing his windmills. I'll continue to work with talking, breathing individuals in actual environments. It helps keep me whole and grounded.

Performance Anxiety

At a live figure session both model and artist are in a sense performing. The model acts as the stationary muse while the artist works to capture some essence of the moment. One might think group sessions would be the more intimidating environment. Surprisingly, not for me. With twelve artists in a room I'm less self-conscious about my work than when it's just the model and myself. The group provides a certain level of anonymity.

When starting a private session with a model I find myself confessing that I don't know what I'm doing. I'm not trying to be self-deprecating or humble. I think I'm trying to inoculate both of us to the process we are about to witnesses. As I stand in front of a blank canvas I honestly don't have a clue what is going to happen.

Academic Male Nude, oil on linen
38" X 20", 2014

No one likes to stumble in front of an audience, even an audience of one. When you are working from life sometimes the marks you put down are just wrong. As time passes I'm less inhibited about people seeing my mistakes. Painting the live figure is a journey often involving miscues and wrong turns. The challenge is to keep finding ways back to the solid path.

A Self-Centered Lot

Most artists I have known over the years tend to be self-centered, many too a fault. I am as guilty as anyone. Being ego-centric about one's art is undoubtedly necessary to produce anything worthwhile. But an unwillingness to seek out and appreciate the artistic endeavors of others can be detrimental. If you don't objectively look at work outside your own sphere you can't possibly get better.

Reclining Nude, oil pastel, 6" X 9", 2012

Some artists don't even feign interest in other artists work. Most express only a fleeting curiosity before re-focusing on their own narrow world. We should keep in mind that there is intrinsic value in everyones work. Sometimes it's just the enthusiasm they bring to the act of creation but that may be the most important value of all.

Mine Field

It's happened. I've begun analyzing not just how I make pictures but why I make pictures. I suppose doing this blog it was inevitable. Dissecting my working process and painting methods has been extremely helpful. But looking too deeply into desires and motivations is a mine field.

Two Figures, oil on linen, 42" X 33 1/2", 2014

This is the largest and most complex figurative painting I've ever attempted. It's not perfect and I have some "issues" but it satisfies something in me. I left it hanging in the studio to contemplate. It started messing with my head.

I don't know from what spring the initial concept for this painting emerged. I don't know how the energy continued to flow to see the painting to completion. I do know that I don't need to quantify or justify what or why I paint. Some things are best just experienced.

Déjà Vu

I've seen this pose before. It happens every now and then. Working from the figure over a long period of time it is inevitable that one will encounter the same or very similar poses.

This is the vantage point I was presented with at a recent group session. I like foreshortened angles but this particular one was just too familiar. I got up and searched the room for a fresh point of view only to find all the "prime" locations taken. I retreated to my spot and set to work. I reasoned that no pose or situation is exactly the same so I'll try to extract the essence from this one.

Reclining Nude, oil pastel, 9" X 11", 2014

Photographing the drawing in the studio the next day I had a strong feeling of deja vu. Then I remembered a drawing that had only recently surfaced. An old friend had kept it. I probably would have tossed it years ago. It offered me a record breaking 39 year gap comparison!

Reclining Nude, graphite, 6 1/2" X 6 1/2", 1975
Collection of Arleigh Williams

It is nearly impossible for two poses to be exactly the same. There are a virtually limitless number of subtle position variations. But as these two drawings show they can come awfully close.