Approaches

Booking a model for a private session last month I discovered that May of 2016 was the last time I had painted from the live figure. I had drawn from the nude frequently but hadn't mixed a flesh pallet and put it to canvas in nearly eight months. Some serious brushing up was in order.

Female Nude, oil on linen, 5 3/8" X 5 3/8", 2017

There are certain rules and protocols that apply to all painting. However, in my experience different subject groups require different approaches. Still life, cityscape or nude each call for different pallet and mental preparations. Returning to the figure after this break it is going to take some time to regain my bearings.

Flurries

Shopping at the supermarket recently I ran into the husband of a local painter I haven't seen for awhile. After exchanging pleasantries I enquired about how she is doing. He said she was painting up a storm probably like I was. After a pregnant pause I explained that I wasn't painting up a storm at all. An occasional flurry perhaps but in no way could my current painting activity be called a storm.

Female Nude, oil pastel on toned paper
9 1/2" X 6", 2012

Right now I'm painting in small bursts. Perhaps at some point in the future these little squalls will form into a category four hurricane. But for now I will have to be content with a calmer weather pattern.

As Good As It Gets

In the 1990's the BBC produced an art history series featuring a Roman Catholic nun named Sister Wendy Beckett. Standing in front of iconic works of art she would make insightful and often unconventional observations. In one episode Sister Wendy descended into a cave to discuss some of the earliest known paintings. I recall her saying that the art of humankind never got any better than those Paleolithic age paintings - just different. What a broad bold statement considering the masterpieces created through the ages. Instinctively I knew what she meant.

Male Profile, oil pastel on toned paper, 7 1/2" X 5 1/2", 2012

The urge to improve has always been a powerful motivating force in my art. When starting a new drawing or painting my hope and intention has always been that it will be better than any previous attempts. But now, closer to the end of my career than the beginning, it is clear that I will never "better" certain early works. The best I can hope for is that my new work will simply be different.

Double Trouble

One of our veteran models arranged for a second model to be present at a recent Fredericksburg Figure Drawing session. For most of the attending artists it was their first time drawing multiple figures. Impressively no one appeared to be the least bit intimidated. The majority did solid drawings that included both figures.

Two Models, oil pastel on toned paper, 12" X 14", 2016

I have only vague memories of my early attempts at two models but clearly recall they did not go well. For the longest time I was convinced that one figure at a time was quite enough. It took the jolt of three models to shake me from this complacancy (see September 28, 2013 post).

On the technical side having two bodies occupying the stage is a good exercise in spacial relationships. When it is one of each sex there is the added interest of the soft curves of the female form contrasting with the more angular shapes of the male figure. All this before we even address the social and psychological ramifications multiple figures present. Oh my goodness.

The Creative Spirit

I would say that all the art and inventions of humankind are products of a creative spirit. As a painter I have long been aware of this powerful force and have discussed it multiple times in this blog. A creative fever recently caught me in a realm unrelated to painting or drawing. It came on unexpectedly and involved sticks - lots and lots of sticks.

Abstract, Mulberry branches and sisal twine, 79" X 107" X 52", 2016

Trimming trees this fall in my small urban back yard I found myself in possession of a plethora of branches and twigs. In the past I have constructed small wattle accent fences with this harvest but somehow this years abundance called for more. What transpired was an enjoyable two week period that resulted in three sculptures. The airy abstract above was the first and my favorite of the group. The urge to work with sticks passed as quickly as it had come. Now it is up to mother nature to reclaim my inventions.

Painters High

Runners high - that feeling of euphoria long distance runners get during and after a run. The jury is still out regarding its actual cause but as a former runner I can attest to its existence. With the winter blues stalking me I have become acutely aware that painting and drawing produce a similar effect. Lets call it a "painters high" (drawers high doesn't sound right). Furthermore, working from the live figure produces the most potent and longest lasting high.

Female Nude, oil on linen, 6" X 6", 2017

I have long referred to drawing and painting as "my therapy". I'm not imagining things. There is an entire field of medicine devoted to art as a healing tool. One can obtain a masters degree in art therapy. There is even an American Art Therapy Association. The simple act of putting pencil to paper or paint to canvas is unquestionably good for ones body and soul.

Post-Truth

The Oxford Dictionary has designated "post-truth" as the word of the year. The general meaning being that we live in a time where what one believes to be true is more important than what facts may indicate.

Female Nude, oil pastel on toned Canson paper
10 1/2" X 8", 2016

For too many of life's endeavors it is difficult to quantify what is true or false. To my thinking, at least where the arts are concerned, questions involving truth speak to integrity. On occasion certain works simply ring true.