Reggie, Grand-dog

A weekend visit to the Philadelphia Museum of Art provided plenty of inspiration and awe, but it was a small portrait of a white dog by Henri de Toulouse-Lautrec which gave me an idea about how to draw my grand-dog, Reggie. I used short, vertical strokes for the background and scribbly hatching for his fur, trying to use Lautrec’s technique to catch Reggie in a contemplative mood on the sofa. I finished the drawing in one class and trying not to overwork it, I left the grey paper showing through the marks. I feel that this was a good attempt at catching Reggie’s ‘dogginess,’ and I could use this technique for other quick works.
Portrait of a dog

Reggie, pastel on paper

Dog by Lauren

Dog, oil, Toulouse-Lautrec, Philadelphia Museum of Art

Philadelphia Museum of Art

Philadelphia Museum of Art

Salt Marshes, again, and again

Last May while visiting Stone Harbor, I took an iPhone picture of the salt marshes along the causeway leading to Seven Mile Island, a barrier island along the southern end of the New Jersey shoreline. The marsh grasses were a spring green with some winter browns mixed in at that point.Landscape New Jersey

View of Stone Harbor, NJ

Last summer, I took a charcoal drawing course and drew the scene of the salt marshes in black and white, with soft vine charcoal on watercolor paper:

Landscape

Today, I revisited the scene in pastel: 12×18, Canson pastel paper:

Salt marshes, New Jersey

This part of New Jersey is so beautiful. I enjoy revisiting it, in person, and in different art mediums. Next, sometime this winter, I will paint the scene in watercolor then oils. By then, it will be time to drive ‘down the shore’ again, as we supposedly say in New Jersey.

Still Life with Gourd…and problems

What can you learn from a painting with problems? I knew the glass bottle I picked for my still life would be challenging with its transparency and reflections, but I decided to face the challenge with the help of my teacher. I did not anticipate that the folds of the black cloth and the elliptical shapes of the plate and bottle would also be tricky. I felt that the gourd would be forgiving – what’s a bump or curve here or there going to matter? You can draw a gourd that looks gourd-like even if it doesn’t look like that specific gourd in front of you and no one will be the wiser. But if you draw the perspective of a cylindrical bottle or round plate inaccurately, the drawing will look amateurish.

The photo collage shows (clockwise from bottom left) the still life in the studio, an early version of the drawing and a later version after two 2 1/2 hour classes and quite a lot of work at home. The drapery is toned down and blended, the black drape shows through the bottle and the sky is darkened. The whole drawing reminds me of some artists I like: Arthur Dove, Marsden Hartley and Charles Burchfield, but I can’t claim that was intentional.

Still life with gourd

Still life in progress

I learned that I need a lot more practice with basic drawing. I learned that folds of drapery are really tricky and that’s why all those Renaissance painters went wild with their virtuoso renderings of draped figures. I learned that using black is worth a whole study of artists like Whistler and Manet. I realized I was right about the gourd. Gourds are forgiving. Just don’t put them on a reflective, white plate seen at a foreshortened angle. Oh, the ellipses!

Still life with gourd, pastel

Art is never finished

“Art is never finished, only abandoned,” Leonardo da Vinci

This quote came to my attention recently on a day I had finally decided a drawing was as finished as it was ever going to get. The journey to get to that point follows.

Here is the drawing in its first incarnation after an evening at a charcoal drawing class.

Still life conch charcoal

Still life conch, charcoal on canvas

I drew this using soft vine charcoals sticks on a stretched canvas. I sprayed it with a home-made fixative, a mixture of water and gel medium which gave it an interesting drippy, watery background and some vivid white craquelure effects. Then I dried it with a hair dryer and went back at it trying to get darker, rich, velvety black charcoal effects. I repeated the homemade fixative but lost the vivid whites in the process, never to be regained. So that was a disappointing materials failure just as the class ended.

The homemade fixative is less toxic than store bought workable fixative and the idea is that it also produces some happy accidents with its watery effects. The unhappy accident of losing the lightest effects might have happened because the canvas was not primed enough. Regardless of the cause, the drawing had gone from good to not so good in one studio class. Ugh!

Still life conch

Photo of conch on books

Here is the photograph I used as my source. The conch has featured in many of my drawings and paintings over the years and my mother’s paintings before that. In addition to the very old shell, it is perched on an ancient Larousse French dictionary my father gave me. I arranged the still life, shot it with my iPad, turned it black and white and cropped and edited it a bit and then printed it out and took the printout to class.

The problem, as Leonardo said, was, should I try to finish the drawing or abandon it? The beautiful whites and watery effects were gone for good and the drawing lacked oomph. I left it on my drafting table for weeks and would add more charcoal marks to it and scrub at it with erasers and a stiff oil brush dipped in water as I wandered by over several weeks, but it continued to look blah.

With nothing to lose, I added some color using conte crayons. The black, sanguine and buff colors did the trick and I was finally happy enough with the results to spray on store bought fixative, (outside and careful not to breathe it.) I affixed a sawtooth hanger to the stretcher and hung it above my drafting table. Here it is. Not abandoned, probably finished. For now…

Conch still life

Conch still life, charcoal and conte crayon on canvas