Tuesday, June 27, 2017

Terror of the Seas


Sea Monster study, gouache, 9x12 inches
An experiment in biomechanics spirals out of control, and the leviathan slips out to sea.

Monday, June 26, 2017

W. T. Richards Field Study

 William Trost Richards, field study
36.4 x 51 cm (14 5/16 x 20 1/8 inches), RISD Museum
Here's a field study in watercolor and graphite by William Trost Richards (American 1833-1905) The curators of the Art Museum at Rhode Island School of Design write:

"William Trost Richards’s close studies of nature reveal his belief, based on the writings of critic John Ruskin, that the way to truth was the study of nature in penetrating detail. On display here is Richards’s precision and agility with watercolor and gouache in vertical format—his favorite for such studies. He may have found this meadow on one of his many long walks around his daughter’s farm in Chester County, Pennsylvania. Before it came to the Museum the drawing suffered from sun exposure, leading to the fading of the sky’s blue pigment, some of which is still visible where it pooled."

I'm impressed with how he sets up two planes of focus: the near weeds and the far trees. While he carefully defines all the smaller textures of the flowers and foliage with a playful variation of colors, he does so within a controlled value gamut.

He keeps to his overall statement of light-foreground over dark-middle-ground over light-sky. The whole design is set up to feature the Joe-Pye weed in the center, where the tonal contrasts are most dramatic.

It would have been easy to get bogged down in other details, and a photograph would have presented a very different set of facts.

Sunday, June 25, 2017

Podcast: 1986 Readings on Gerome, Repin and Shishkin


In 1986 I was part of a group of friends called "The Golden Palm Tape Network" who shared art-talk via cassettes. I thought some of these recordings would be fun for you to listen to in the form of a podcast on YouTube. 




Let's start with a fairly typical one called "Academic Chatter," a combination of readings and commentary. (Direct link to podcast on YouTube).

Topics include: 


The nucleus of the G.P Tape Network was a small group who knew each other at the Art Center College of Design. We first met each other at the Golden Palms Apartment in Highland Park, California.

The artists involved included Paul ChadwickBryn BarnardThomas KinkadeRon HarrisRichard Hescox, Tom KiddDavid MattinglyJames Warhola, Brad Teare, and Barry Klugerman. All those people were (or are) brilliant and incisive and funny, and I owe who I am to what I learned from them.

There were hundreds of tapes, most of which were recorded over again with new stuff. But I still have a lot of these. If you enjoy this one, let me know, and I'll share some more.
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Jean-Léon Gérôme on Wikipedia
Previous post on The Golden Palm Tape Network

Saturday, June 24, 2017

Exhibit of Courtroom Art

Tom Girardi with beating victim Bryan Stow by Bill Robles.
An exhibit in Washington called "Drawing Justice" examines the work of courtroom artists.
"The nearly 100-work exhibit will feature historic sketches such as Howard Brodie’s drawing of Jack Ruby at his sentencing for killing Lee Harvey Oswald; Marilyn Church’s trial drawing of Martha Stewart; Pat Lopez’s capturing of a nervous Ken Lay looking at evidence during the Enron trial; Bill Robles’s drawing of the haunting, dead-eyed Charles Manson on the witness stand; and Joseph Papin’s image of “Son of Sam” murderer David Berkowitz in mental anguish." Read the rest at The Washington Post. 
The exhibition will be at the Library of Congress in Washington through October 28.
Article about the show in Columbia Journalism Review
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Related: Sketch artist recreates Sean Spicer briefing after White House camera ban

Friday, June 23, 2017

Book Review: Portrait Drawing by Mau-Kun Yim

I recently had a chance to read a copy of Lessons in Masterful Portrait Drawing: A Classical Approach to Drawing the Head by Chinese-born artist Mau-Kun Yim.

The book consists mainly of Mr. Yim's charcoal portrait drawings from life.  


The book includes many step-by-step sequences that show his process. He starts with a foundation of straight lines to establish the structure of the head and the placement of the features.

Then he adds masses of tone in a sculptural but painterly way. He describes drawing as "painting without color," and he compares making a drawing to building a house. Edges and highlights are reserved for last.


The title of the book, "Lessons in Masterful Portrait Drawing: A Classical Approach to Drawing the Head" is a bit of a misnomer, because it's not really presented as specific lessons to follow so much as ideas and drawings to be inspired by. 

The book is helpful for the drawings themselves, which are well reproduced. A gallery section of full-page examples takes up the last 50 pages of the 144 page hardcover book. I found the book is also helpful for understanding his philosophy, which he has developed through his study of many traditions of drawing: not only Chinese, but also European, American, and Soviet. 


He quotes the teaching of Soviet master Konstantin Maksimov on the principle of wholeness: "Start with large blocks, straight lines, and masses of light and shadow, before gradually moving on to the features, details, and expression in a drawing. If you can get the relationship between the building blocks right, then a harmonious whole will emerge."

He is a believer in keeping a sketchbook. "Sketch often and sketch slowly," he recommends. "Is faster better in sketching?" he asks. "Not always! I've seen many private studios in the West, Hong Kong and Taiwan where the time allowed for nude sketches is so short that the paintings come out looking like wild scrawls."

There are several videos showing his method on YouTube, such as this one, sponsored by Nitram Charcoal. There are other videos on his own YouTube channel, where he also shares his masterful oil portraits. (Link to YouTube)

His website is Mau-Kun Yim

Thursday, June 22, 2017

Berkey Crowd Scene

John Berkey's widow, Demi, remembers what it was like for John to paint the massive crowd scene in this Indianapolis 500 illustration.

"John hated those crowd scenes. One of the things he did to keep from going completely mad was to mask off most of the painting and work on only one section at a time. There was just no way to do the crowds fast. A piece like this took many days."
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See more Art by John Berkey (1932-2008) at Jim Pinkoski's fan site