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There have been some awesome printmaking exhibits around recently. Brooks in Memphis put out their full complement of Durer's Small Passion, which is detailed and delightful. They can only show it every so often since it is fragile and on paper. I think the equation is something like "for every three months it's on show, it has to rest three years" or something like that. I didn't get over as often as I had optimistically planned to, but I did make it several times and spent some quality time sketching in the end. His use of line, like with all wood engraving, is what makes the print. But I was also fascinated by the details -- crucifixion tools lying at the foot of the cross, his signature not flat with the picture plane but in perspective (though he did get his D backwards a couple of times, which thrilled me to see --- even the top drawer printmakers can screw up the backwards bit sometimes!)
I loved the trees and the animals. Several pieces had small dogs in the foreground. I did notice it was the villains of the piece who mostly had dogs (Pilate, Herod, Caiaphus), but I wonder if they simply need the ministrations of dog angels more than the rest of the cast did. I also loved Jesus in his floppy gardening hat with a spade over his shoulder (but the stigmata noticeable). Most of all I loved the Adam and Eve in the garden underneath trees that have a through line down to E.H. Shepherd and with a badger (!) among the animals gathered around. I drew the tree carefully and the figures a bit less so, but I loved spending deep time looking at this one. Walking home, a tree reached out to me and called to be drawn, so I worked on using the character of Durer's lines to describe it (even if far less small and precise).
I loved the trees and the animals. Several pieces had small dogs in the foreground. I did notice it was the villains of the piece who mostly had dogs (Pilate, Herod, Caiaphus), but I wonder if they simply need the ministrations of dog angels more than the rest of the cast did. I also loved Jesus in his floppy gardening hat with a spade over his shoulder (but the stigmata noticeable). Most of all I loved the Adam and Eve in the garden underneath trees that have a through line down to E.H. Shepherd and with a badger (!) among the animals gathered around. I drew the tree carefully and the figures a bit less so, but I loved spending deep time looking at this one. Walking home, a tree reached out to me and called to be drawn, so I worked on using the character of Durer's lines to describe it (even if far less small and precise).
A second remarkable show is a set of Piranesi etchings at the University of Mississippi art museum. These are in their collection as well. None of the fantasy dungeons, sadly, but still some pretty delightful and whimsical details, like the figures up on the top of this dome with letters floating beside it. The letters, I realized later, corresponded to a list of building parts at the bottom of the print, but even so, their slightly wonky air felt whimsical as well. I also sketched a few decidedly whimsical (that was the word of the day) Mycenean pottery figures. I loved their stripes and happy expressions. I wish local museums would let us work in more than graphite, but the pencil did suit the engravings I was working from, and it felt good to do master copies again, even if only bits and pieces that appealed to me.
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Memphis Urban Sketchers met at Elmwood recently, and I've been out there studying their statues for a new project anyway. I love that place, and it's been fun to revisit it lately.
I've been leaning into the water soluble graphite lately. I've got a big, fat crayon of it, and I added watercolor on top of it in a limited way in the vertical piece. Some of the other studies, looking to capture more detail in the statues, I started with a grey fountain pen and added the graphite in a wash with a brush. I love the subdued sparkly-ness of it on the page. It's also a little messier and can leave a residue on the facing page, but that can also make a sketchbook feel a little more spontaneous and alive (which I remind myself of when it annoys me).
I've been leaning into the water soluble graphite lately. I've got a big, fat crayon of it, and I added watercolor on top of it in a limited way in the vertical piece. Some of the other studies, looking to capture more detail in the statues, I started with a grey fountain pen and added the graphite in a wash with a brush. I love the subdued sparkly-ness of it on the page. It's also a little messier and can leave a residue on the facing page, but that can also make a sketchbook feel a little more spontaneous and alive (which I remind myself of when it annoys me).
The story of Emily Sutton was fascinating (and sad) to me. She owned a bordello, and her madam name was Fanny Walker. When the yellow fever epidemic hit Memphis like a brick in the 1870's, she turned her bordello into a hospital and nursed sick patients until she died, while many prosperous people fled the city instead. She was buried at Elmwood with a lovely marker, but the judgemental patriarchal society added not one, not two, but THREE large boundary stones with her madam name in large letters so no one would forget that she was "only" a prostitute. Jerks. You can see Gideon resting his chin on one of those while I sketched her.
My last sketch with the sketchers (Gideon was with me a different day for Emily) was a rapid walnut ink sketch with a dip pen back at the meet-up site waiting for everyone to gather. I'm really enjoying my dip pen lately. And the walnut ink.
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My last day of the trip was Missouri and Arkansas. I stayed at a different park in Missouri than the one I love (full after the last minute delay due to smoke), so I slanted down the state through the Ozarks. The stand out highlight of the trip was a small antique store in Knob Noster, MO, (that name!) that had a commercial kitchen attached and homemade PIE. A brilliant combination. I didn't buy anything permanent, but I did get a strawberry rhubarb pie with some of the best crust I've ever had.
It was a great easing into home, since I've come back to a fantastic exhibition of Wayne Thiebaud's prints and paintings at Dixon. I've been looking forward to this show for months. I went the first week with an artist friend and had such fun comparing our ideas about the work. Yesterday I went back to spend more time with specific pieces I love and do a little sketching. I plan to go at least once a week while it's here. I'm fascinated with how he uses hatching to define spaces instead of outlining all the time (the meringue below, or the man with the paper's shorts. Exquisite.)
It was a great easing into home, since I've come back to a fantastic exhibition of Wayne Thiebaud's prints and paintings at Dixon. I've been looking forward to this show for months. I went the first week with an artist friend and had such fun comparing our ideas about the work. Yesterday I went back to spend more time with specific pieces I love and do a little sketching. I plan to go at least once a week while it's here. I'm fascinated with how he uses hatching to define spaces instead of outlining all the time (the meringue below, or the man with the paper's shorts. Exquisite.)
One thing I thought about over the summer is how to take the slow down of the last few months back into my home life. Sadly fall is going to be less busy than I'd hoped, given the resurgence of the virus, but I still want to be intentional about giving myself permission to take days off without feeling guilty. I love working in my house and having studio space available right here, but it can be hard to take time off when work is in the next room hovering over your consciousness. Potter Melissa Bridgman, who works harder than about anyone I know, gives herself a weekday sabbath, since weekends get so crazy. I love that, and I plan to implement that for myself. I'd like to use it to do more regular museum visiting, since that really feeds me. Yesterday I took my first weekday off. I went to Dixon to sketch, had a leisurely lunch on the back porch with my journal, banjo, and the Thiebaud catalog, and visited a friend in her yard in the afternoon. It was marvelous. I've got time before WAMA to get my prints in order for the show, and I'm going to enjoy the lead up instead of stressing about it.
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I've been doing more landscapes than anything else lately (which are always the primary draw for me), but I've done a handful of smaller scale, daily life sketches lately, and I really enjoy them as well. Here's a round up from the last month, since they haven't been fitting thematically into the posts I've made lately. I always enjoy opening sketchbooks back up later and remembering a favorite luncheon, a date at an ice cream parlor, or an especially yummy dessert.
Or even a medical check up...
And my very favorite -- Belgian torte from a dessert shop I had tried two years ago up in Bellingham on a day out up there. I was delighted that the place had made it through the pandemic. The torte was at least as good as I had remembered.
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I actually took a little time off around the holiday from my regular work this year, but I spent a lot of Thanksgiving itself in the forest. We've had a lovely run of warm, sunny thanksgivings, and it's become a tradition for me. My usual family do isn't often on the day, due to scheduling conflicts for other folks, and this year, of course, it was a thoroughly quiet day with Mr. Darcy and me eating by the fire.
I've been doing book work and prints and having trouble getting myself into sketching lately, so I decided to mix things up and try some watercolor pencils. I always want to like them and then don't, but the Inktense (made near the Lake District in England, by Derwent) have a lovely strong color and depth. Local museums won't let me sketch with my water brush and colors the way I can in Europe, and I've been wanting a color medium I can use in museums too. These are fun. They mix line and wash, and I like the colors. I still like fountain pen and watercolor best, but it's good to play. The first one is two colors of green pencil plus water soluble graphite. Then I added pen to the last one of the four, just to see how that was too.
I've been doing book work and prints and having trouble getting myself into sketching lately, so I decided to mix things up and try some watercolor pencils. I always want to like them and then don't, but the Inktense (made near the Lake District in England, by Derwent) have a lovely strong color and depth. Local museums won't let me sketch with my water brush and colors the way I can in Europe, and I've been wanting a color medium I can use in museums too. These are fun. They mix line and wash, and I like the colors. I still like fountain pen and watercolor best, but it's good to play. The first one is two colors of green pencil plus water soluble graphite. Then I added pen to the last one of the four, just to see how that was too.
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I’m trapped tonight. I was going to do another entry in my Quarantine Journal, but I got trapped by this guy. And he’s so sweet I hate to move him. I’ve been trying to be really intentional about keeping this gray paper sketchbook plus some graphite on the coffee table so they’re always within reach for situations like this. I can’t reach my book, but I do have my knitting. Guess what else I’m doing tonight. No complaints.
Now he’s snoring. Life is good.
Now he’s snoring. Life is good.
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I’ve finally got a full proof of the Shearwater Diptych hanging in my work room. After several weeks it feels great to see it together, even if I’m still working on cleaning it up and considering a few smaller foreground additions. In the evenings I’ve continued to do some sketches of Mr. Darcy, so here are a couple of recent ones. I’m considering one or two for prints, so watch this space. Sometimes it’s nice to have a smaller print or two in progress to switch to when the big ones get a little overwhelming.
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Y’all. I logged in to do this blog post and realized that it’s my 1001th blog since I started this blog almost exactly 10 years ago. I was worried I wouldn’t be able to stick with it over the long haul, so this feels worth celebrating. Sometimes I’m more regular than others, but I usually manage at least one a week and try for a couple. When I’m traveling and having a lot of sketches, it will go almost daily for a bit.
This week has been busy with a family wedding (yay!), so I’m working less than usual, but I’m still managing to work a bit on this new print. It’s based on a recent oil painting of a hurricane tree washed up on a beach. Transitory beauty. You can see from the block at the top right that it extends above what I have carved and printed. I needed to get a feel for what was happening below before I could really decide on the sky. I proofed it yesterday and started carving the sky this morning, but the weekend will be some more wedding celebration, so any more work will have to wait till Monday or so. I also managed another small Mr. Darcy sketch. I’m enjoying doing those. He’s always my best muse.
I hope all of you have a great weekend. Go celebrate some small personal achievement and enjoy that happy feeling!
This week has been busy with a family wedding (yay!), so I’m working less than usual, but I’m still managing to work a bit on this new print. It’s based on a recent oil painting of a hurricane tree washed up on a beach. Transitory beauty. You can see from the block at the top right that it extends above what I have carved and printed. I needed to get a feel for what was happening below before I could really decide on the sky. I proofed it yesterday and started carving the sky this morning, but the weekend will be some more wedding celebration, so any more work will have to wait till Monday or so. I also managed another small Mr. Darcy sketch. I’m enjoying doing those. He’s always my best muse.
I hope all of you have a great weekend. Go celebrate some small personal achievement and enjoy that happy feeling!
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Update on this one. I’m still tweaking it, but it’s getting really close. I’ve been working on it most of today. I will admit to taking yesterday’s sunny, 63 degree day and cycling through the park a long time with an enormous grin on my face. In January sometimes you just have to seize those days as they’re handed to you and put work aside for a few hours. Today’s windy cold found me back at my work table.
Also here is last night’s sketch of Mr. Darcy. I’m still enjoying having this toned paper sketch book right on the coffee table where I can grab it easily when I’m reading or watching tv.
Also here is last night’s sketch of Mr. Darcy. I’m still enjoying having this toned paper sketch book right on the coffee table where I can grab it easily when I’m reading or watching tv.
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I’ve never known that much about abstract painting, and I’m generally drawn to more figurative work, but I’ve been looking forward to getting enough space from show season and crazy family stuff to get over to Dixon to see this exhibition. It’s a stunning one. I’ve been twice this week and could even be tempted to go back another time before it closes on Sunday. Rothko is my absolute favorite of the abstract painters, but I had fallen deeply for a Helen Frankenthaler painting in Omaha a few months ago, and there’s a less totally stunning but still lovely one in this show. There’s also a gorgeous de Kooning, and I loved the second show of just Dzubas paintings (an artist I wasn’t previously familiar with) collected by a local businessman. It was a stunning retrospective of four decades of his work, and a number of them sang to me. I loved seeing the progression too. My only quibble with the main abstract show was that it was only one painting per artist. I really like being able to see two or three of the same artist, compare them together, get more of a feel for the body of work. Their survey of women artists earlier this year (with many less famous names — I was already somewhat familiar with a number of the abstract painters) was even more disorienting that way. I wanted to see more than just one. It’s almost jarring to move artists with every painting and have no compare and contrast ability. But that’s a small complaint about a stellar show overall.
I went back the second time with every colored pencil I own to try to capture a little of the texture of the Rothko, and the Stamos had also been calling my name. I did one small sketch of each. The de Kooning was too intricate for me to take on that day, and I didn’t have any of the right colors for the Dzubas pieces I liked best. With watercolors I can mix anything, but pencils just are what you have. The last two pieces are both by Dzubas.
I went back the second time with every colored pencil I own to try to capture a little of the texture of the Rothko, and the Stamos had also been calling my name. I did one small sketch of each. The de Kooning was too intricate for me to take on that day, and I didn’t have any of the right colors for the Dzubas pieces I liked best. With watercolors I can mix anything, but pencils just are what you have. The last two pieces are both by Dzubas.
