In heart, theory, and practice the very best visual art alternative to postmodernism. Currently in the 2nd stage of the 2020 Guggenheim Fellowship Award.
Da Vinci shows us in his drawing humanity, science, discovery, empathy, light, and beauty. All can be metaphors for life. This an offshoot discussion from my article, The Cult of Oblivion: CIA, Abstract Expressionists, and Kant.
What does the feeling of lovemaking look like? Where can/do visual ideas come from? Michael Newberry discusses the genesis of his recent pastel Reclining Nudes.
Colored and dark papers can save you precious time and give you amazing effects. When I paint/draw/teach plein air I try to nail the impression in under an hour, it is a race against the planet moving. As the sun slowly moves across the landscape you will see new cast shadows, new lights, after 3 hours they all cancel each other out leaving you with muck. So in keeping the time short using the dark paper can be a huge advantage.
The idea is the paper is your dark areas, sketch in the composition and leave the darkest part alone. From there you focus on bringing out the light, driving towards the light, with the last touches happening in the last few minutes before your hour is up! This approach works wonderfully and it feels magical while doing it.
One of the reasons why leaving the paper alone as darks works is because shadows are the absence of light. The darks don’t need details or labor, leaving them alone creates a atmosphere of mystery that is a perfect foil for all the lights you will be drawing. Save time, effort, and create magic by leaving lots of paper alone. Enjoy!
Below are my pastel landscapes all in under an hour. Take note of the dark areas are just paper.
I drew this the other evening from a live model. It is play on Duchamp’s Nude Descending and I have thought of doing a painting with this overlapping concept, we will see. The concept is not new, it happens all the time with life drawers doing quick poses, or a continuous pose, when the model moves very slowly from one pose to another and artists draw it as quickly as possible with overlapping marks. It also happens with Renaissance drawings even with cave paintings, dues to running out of surface.
I just uploaded to my archive.
Today I uploaded these pastel still lifes to my archive. They are in my Idyllwild studio’s drawing drawers. There is difficult oxymoron in painting and pastel which is that color kills light and light kills color, but I think with these I achieved the perfect balance bringing out the best of both. At the moment they are available and upon sale they will be framed with museum Tru-Vue glass, the best, no glare all you see is the beauty of the pastel and paper.
Find the Shadows and Bring Out the Light a Few Examples from Our Provence Art Experience Workshop
St. Paul Asylum in St. Remy
Our first morning was a bright windy day as we drove to St. Remy guided by Mathieu to visit and draw at the St. Paul Asylum where Van Gogh was a patient around 1888-9. It was also the period when he did many wonderful works. Incidentally, I did my final art history paper on Van Gogh’s painting of the asylum. We saw the VG bedroom and then we started with our first pastel drawing lesson directly underneath its window.
The students under the shadow of Van Gogh’s ghost and unfamiliar with plein air painting/drawing and with each other, and jet lagged they bravely listened to their first instructions. The concern on their faces was apparent.
Continue reading “Lessons From France”
My brother committed suicide and this is a memorial drawing.
A Reddit commentator gave condolences and then wrote “I love the grain of the table magnified by the water in the glass.” That names so well the visual.
The Problem with Glass
Michelangelo paints and draws humans not so much how he sees them but what his hands would feel massaging their bodies. Bone stands out and soft spots become indented. Glass is tricky because we literally see through it but if you draw it that way it doesn’t feel tactically real. See if you can observe that the patterns inside the glass float up to the front side of the glass; as if you could reach out and tap the glass.
Conceptual Flip
One of the most rewarding studies of painting and drawing is discovering how a thought, perception, or emotion is transformed into a purely visual medium. Michelangelo’s drawings serve as examples of translating the perception of touch to sight. In other words, his drawings convey to our sight not what we would see but what we would touch.
Continue reading “Michelangelo’s Drawings: The Conceptual Transformation from Touch to Sight”
I have noticed lots of artists including myself are drawn into drawing abandoned places, scruffy landscapes, weathered shacks, and stone ruins. While a manicured lawn or polished mahogany conference table inspire a blau reaction. There is something visually exciting about the chaos of ruins but what is it that is triggering our vision? And why are paintings or drawings so boring when they are of pristine subjects? Vision scientists Jan Koenderink and Andrea van Doorn (a link to their abstract on pictorial space) talked with me over beers in Glasgow pub about how the eye goes blind if it cannot move about and compare and contrast tones and hues. Using my artist’s logic it makes sense that on the opposite end of the spectrum the eye becomes excited when each hue and tone is varied. My pastel of a rickety courtyard gate in Rhodes, Greece illustrates this.
Notice the gate is drawn with all kinds of unrepeated colors. The plastered gold side of the wall has countless hues ochre, and medieval stones are equally varied with its shifts between brown and gray. It seems like a lot to try to do in a 50-minute drawing, but I was helped along by all the setting’s details were all extremely varied. If you are an artist looking for something interesting to draw look for differences in everything. That will keep your eye busy and excited and the viewers’ too.
Michael Newberry
