Monday, March 25, 2024

Notes for Art Students, Part Two

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Hot on the heels of my last post is Part Two in my series Notes for Art Students. 

My climb up the documentary video steep learning curve continues. As with climbing a mountain, just when you think you're nearing the top, another steep slope awaits. With my son helping me along, we spent yesterday working on sound quality; partly due to recording technicalities, which he can put right, and partly due to my dyslexic miss pronunciations and hesitancies, which the more we try, the worse they get.

The introduction to each video begins with relevant autobiographical images. My painting demonstrations are in real time, which means I'm eligible for the Guiness Book of Records in terms of speed of execution. Where others take an hour, I take five minutes.

I welcome your feedback on the series.

Sunday, March 24, 2024

The ugliness of beautification

 

Municipal Rustic. An illustration from Ian Nairn's book Outrage.

In the realms of the urban environment, “beautification” is not creating beauty, but cleaning up the mess that disfigured that which was beautiful before we made a mess of it.

Ian Nairn highlighted the problem in his book "Outrage". That was seventy years ago, and in the meantime the roots of beautification have multiplied and termites have eaten their way through my cherished copy his book. 

Rural beautification is even worse. On my island the verges of a road that passes through the rain forest have been beautified with crotons.

Sunday, March 17, 2024

Focusing the eye towards telling detail.


 


The opening pictures illustrate what the moving image can do best; that is, zooming out from a detail to the picture as a whole. This is what the eye does when viewing a picture. But by way of the camera, I have the advantage of selecting the viewer's starting point. When left to their own devices, viewers invariably begin by convertly focusing on the body parts that are deemed forbidden. 

I only wish that I could free my videos from the excessively wide horizontal format of today's screens - be it the cinema, television or handheld device. Paintings in the wide horizontal are a rarity. The format of my reclining nudes is only moderately horizontal, whereas my standing figures demand the vertical.

My most recent video is seen as source of inspiration to art students and aspiring artists who had almost given up. 

Sunday, March 10, 2024

Realising Creative Potential

 
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The first video, in my series of Notes for Art Students, is titled Realising Creative Potential. The content is relevant, as we are all born with 98% the creative potential of genius, but by the time we reach adulthood, conformity has reduced it to less than 2%. 

The video is supplemented by my books on the same theme. 

My collection of videos on art can be found at my Video Channel Home Page.

Sunday, March 3, 2024

Sound, vision and the written word


Today's image is the header of a blog that has had just two brief spurts of life over the last ten years. I am now in the process of resurrecting the notes with sound, vision and the written word: that being a series of art tutorials videos together with a book on the same subject.

It will serve as an antidote for those who have suffered an overdose of insipid tutorial art videos. My intention is to put the passion back into art. So be warned, viewing and reading will not be for the faint hearted. I can already hear the scratching of censorous pens.

By getting the message across by different means, I may find, as J B Priestley found of his wartime broadcasts:

I have been hard at it getting through to the public mind, one way or another, for about twenty years, but as a medium of communication broadcasting makes everything seem like the method of a secret society.

If the author found that to be true of a five minute talk on the radio over 80 years ago, I wonder what he'd make of today's social media.

Tuesday, February 27, 2024

Injecting life into a still life


Still life by the 17th century Flemish painter Artus Claessens.

Still life by Paul Cezanne (1839-1906)

The video that I am now working on is about injecting life into still life. But whether it be a still life, landscape or figure, encouraging the majority of artists that post on facebook forums to inject life into their paintings is like trying to resurrect the dead. It is slavishly copying from photographs that puts the nail in the coffin.

Working from life is a messy business and the result is not likely to win accolades to the tune of "how sweet". In my real life life-classes, erasing is forbidden. In my book Notes on the Nude I have this to say:

I only enforce one rule for those attending my life class: no erasers! In sketching, as in life, every moment counts, mistakes and all. There’s no turning the clock back. One of my mature students put it nicely when she told the class she had earned every line on her face. Hidden in a confusion of wrong lines is the right line. When I find it, I firm it up and the wrong lines remain to emphasise that I have figured it out. Sometimes I leave the viewer to determine which line is the right line. By these means I invite the viewer to have a say in the creative process. A multitude of lines gives testimony to the struggle one faces when working from the live model.  The model is alive, and the artist must somehow put the very breath of life down on paper.  Right lines and wrong lines all count: there’s no rubbing out.




Monday, February 19, 2024

A passion that never dies.

Click on the image to view.

My latest video traces work in progress on sculptures in my series Daughters of the Caribbean Sun. It is the story of a love affair began over fifty years ago when I was seduced by Enzo Plazzotta's sculpture Jamaican Girl and it continues to this day.

 

Saturday, February 17, 2024

Your clothes conceal much of your beauty...


 In his book The Prophet, Kahlil Gibran has this to say about clothes:

And the weaver said, Speak to us of Clothes.
     And he answered:
     Your clothes conceal much of your beauty,
yet they hide not the unbeautiful.
     And though you seek in garments the
freedom of privacy you may find in them
a harness and a chain.
     Would that you could meet the sun
and the wind with more of your skin and less
of your raiment,
     For the breath of life is in the sunlight
and the hand of life is in the wind.
 
     Some of you say, “It is the north wind
who has woven the clothes we wear.”
     And I say, Ay, it was the north wind,
     But shame was his loom, and the soften-
ing of the sinews was his thread.
     And when his work was done he laughed
in the forest.
     Forget not that modesty is for a shield
against the eye of the unclean.
     And when the unclean shall be no more,
what were modesty but a fetter and a fouling
of the mind?
     And forget not that the earth delights to
feel your bare feet and the winds long to
play with your hair.

Saturday, February 10, 2024

The quandary of depicting the nude.

Three years ago I opened my post tilted As a matter of Fact with the following health warning:

The images that follow have been recently banned by Social Media's Keeper's of Public Decency. 

The censor's message reads: This post was flagged because it contains adult content which violates our Community Guidelines. THIS DECISION CANNOT BE APPEALED. It appears that social media in general wants us to be more comfortable with war, violence and foul language than with innocent paintings of the nude.

I trust that Edouard Danton's paintings will not shock or offend followers of this blog. 

The video I am now working on delves into the issue of depicting the nude with reference to the live model. In all of the instructional videos that I've seen on working from the nude model, the camera acts as a fig leaf and discreetly masks what you should not see. And that's far removed from life. I feel compelled to do otherwise and risk censorship.

I take courage in the fact that my recent released video Working from Life has won praise from the cognoscenti.


My Father's Studio Edouard Danton (1848-1897)

 
The painter Edouard Danton (1848-1897) came from a family of sculptors and the paintings he made in his father's studio to my mind perfectly capture the matter of fact business of working from the nude model. I stress "to my mind" because one critic from the world of art academia - having I'm sure, never worked from the nude - considers his paintings mere titillation. 

In my book Notes on the Nude I delve deeper into the working relationship between artist and model. In particular the titillation of the provocatively dressed model as against the natural beauty of the undressed:

The human body is less sexually alluring nude than when it is dressed. If one of my regular models had posed in the fetching flimsy white dress she wore on arrival, I would have been lost beyond recall. But as soon as she took it off we were back to our matter of fact working relationship.

As with the model depicted in the painting, my models are likewise fascinated by the work in progress and at the end of a session I can sense my model's reluctance to exchange the freedom of the nude for the restrictions of being clothed.

Below are two more of Edouard Danton's masterly paintings. As a sculptor I can recognise every detail, from the tools on his workbench, to the temporary rail alongside the modelling stand, and the calm composure of the model.


Casting from Life

Coin d atelier


 

Thursday, February 1, 2024

Artist and Model

This demonstration video supplements my book Notes on the Nude. I hope it encourage a new generation of artists to pursue the challenge of working from the nude model and inspire a new generation of models. In recent times artists have resorted to working from photographs, rather than from life. 

To quote from my book:

I cannot walk around a photograph of my subject, neither can I touch, feel, sense or talk to it.  It can be troublesome working outdoors; you get burnt by the sun, drenched by the rain, bitten by ants and easels get bowled over in the wind.  In the studio, models cannot be expected to retain the freshness of a pose for longer than a couple of minutes. Nevertheless, the rewards of working from life are worth the effort.  Between the torn up false starts, the exploratory lines and the dashed down runs of colour, there on paper, is a trace of the truth! 

You can view the video at: https://www.youtube.com/watch?v=cFBxxmBNsDU

Friday, January 26, 2024

An accolade that hopefully I will never receive

 


Trudy

My five minute charcoal sketch of Trudy, will never receive the accolade: It looks so real that it could almost be a photo! But many post of paintings on facebook art sites do. This I have realised after a week of scanning facebook posts. Most certainly, if it was a painting of the nude that looks so real that it could almost be a photo, social media censors would banish it forthwith. 

Curiously, my brother, an accomplished photographer, occasionally does it the other way about, by photoshopping his photos to make them look like a painting. 





Friday, January 19, 2024

On the cutting room floor

Detail from the painting featured in a forthcoming demonstration video titled 
Working from Life. 

In the pre-digital days of film making discarded footage ended up on the cutting room floor. Now superfluous clips are deleted at the click of a mouse. But what might be discarded as worthless today might be considered gems tomorrow. Today's picture is a case in point. It is a still from a demonstration video I'm making that illustrates my way of painting in watercolour. Yesterday it was edited out, today it's back in. 

It is the same with my paintings. I restrain myself from destroying those that on the spur of the moment I consider worthless. On reassessment, I sometimes find positive features that had eluded me.

The video shows the creation of a painting in my series Daughters of the Caribbean Sun, from start to finish. The timespan is 14 minutes. Speed is of the essence.

Friday, January 12, 2024

Only angles and babies need apply

 

My wife Denise in the eighth month of her pregnancy with our daughter Trina. 

Following the theory: if you can't beat them, join them, I have been trolling through scores of art group sites on Facebook in view of introducing my book Notes on the Nude to their members. In the process I have been reminded of Facebook's horror of the nude, hence on many sites my paintings and sculptures are persona non grata. 

Granted, one group makes the exception of angles and babies. But alas, the painting of my wife Denise in the eighth month of her pregnancy with our daughter Trina, still falls foul of their censors; albeit that it embodies both exceptions in one painting. 

Years ago, when one of my sculptures was being cast by the Morris Singer Foundry, I caught sight two angels. They had been commissioned to stand each side of a church alter. Gossamer drapery served to accentuate their God given beauty. I learnt from the sculptor that the model for one was a young lady of impeccable breeding and for the other, a prostitute.

My book dwells at length on censorship of the nude in art.


Friday, January 5, 2024

Townscapes


The opening picture is a page from my book Townscapes. The sketch is one of thousands I've made from the pavements of towns and cities during the course of my life. It was a life that began in the darkest days of WW2. The townscapes that escaped the bombs in the 1940's were demolished by developers in the 1960's, thus my passion for recording buildings individually and collectively. 

The book can be accessed at: https://www.studiopublications.org/

Saturday, December 30, 2023

Let there be life

 

 

My message to my fellow artists for the New Year is, Let there be life! 

Let there be no slavishly copying from photographs. 

Let there be no social media censoring of the nude.

Let there be no carefully contrived compositions.

Let there be no constraints. 

Let there be no erasing. 

The painting above was made at 3.00am in a Leeds night club, and the painting below was made from life on a beach in the Virgin Islands. It is one of hundreds of illustrations in my book Notes on the Nude. No photograph, no censoring, no constraints.