- Published on
I got caught in a downpour at Dixon last week and for a second time found myself waiting it out on the porch sketching the three fantastic butts of the Rodin Three Shades from his Gates of Hell masterpiece. After posting I was asked if I could post the series of sketches I've done of those statues, and it sent me down a small rabbit hole. Above is the same scene two years ago, but with fountain pen and a wider viewpoint. It's honestly one of my favorite all time sketches, catching that crazy spring rain. Here is last week's version, closer up and in watercolor crayon.
I tend to sketch scenes I love over and over again, and Dixon is one of my favorite places to sketch. Here are the guys from the front for a change, with the overall view of the museum entrance.
I've also sketched them from inside a tent at one of the evening events Dixon puts on.
And finally with Autumn foliage, once again from my favorite front porch bench.
Dixon and Rodin are a great combination. They had a traveling show of his work my senior year in high school, as I was headed out to become an art major and hopefully an artist afterwards. I was unprepared for figure drawing, so I spent a lot of time that year sketching the Rodin sculptures to prepare myself. One of my favorite t-shirts in my college years was a Rodin shirt from that very exhibit. (Black is also super handy for art majors since it doesn't show charcoal.) I just recently dug out old photos of me and sketched myself for my memoir project in that same shirt. I wish I still had it (and my Arlo Guthrie shirt), but they seem to have dropped away over time. But here I am in my art major prime for a book hopefully to come later. You apparently never outgrow that, can-I-really-do-this feeling as an artist, that pushing into something new. It feels like full circle, all tied together by both Dixon and Rodin.
- Published on
Y'all, I'm so excited. I've been head down working on this for six weeks or so. And it was amazing to be asked to do this. I had sent them my Greensward essay a couple of years ago, which found a quick home at Memphis Magazine, bless them. Then in late January, one of their newer editors was going back through old submissions, said she loved my style, and asked if I had any more stories to tell.
I've done over 30 sketches since we got a general direction in mid-February, and it's just about to go off to the copy editor and layout folks for approval. The last step will be for me to hand letter all the text to fit into the correct spaces, but I'm ahead of a pretty tight deadline. It's so good to know I can work this quickly when I need to. I'm still struggling with long Covid fatigue, and this has been the just the right project for this spring. It's all small enough to do sitting down and even in my lap on the sofa, but it's new and exciting and something to look forward to. So perfect.
I've done over 30 sketches since we got a general direction in mid-February, and it's just about to go off to the copy editor and layout folks for approval. The last step will be for me to hand letter all the text to fit into the correct spaces, but I'm ahead of a pretty tight deadline. It's so good to know I can work this quickly when I need to. I'm still struggling with long Covid fatigue, and this has been the just the right project for this spring. It's all small enough to do sitting down and even in my lap on the sofa, but it's new and exciting and something to look forward to. So perfect.
- Published on
I cleaned off the porch at the beginning of the season, removed the second hammock chair that crowds it (no one ever really sits out there with me anyway), and have been spending lots of time out there lately. It's been a great joy. I did a line drawing of this scene some days ago in my smaller journal with the new Sailor fude pen, and I decided to have it in the Quarantine Journal as well. I was down to the right hand side square, and it probably would have benefited from being more horizontal, but it shows the critical elements of the scene, along with my new bird book, a long distance present that I am really enjoying. Spending this much time on the porch has me watching the birds more intently than ever before, and it's been deeply satisfying.
I'm showing off my deeply ugly house shoes in both of these sketches, but they're incredibly comfortable for standing up painting and print work, and I have to say that they are also fun to draw.
I'm showing off my deeply ugly house shoes in both of these sketches, but they're incredibly comfortable for standing up painting and print work, and I have to say that they are also fun to draw.
- Published on
I did the Memphis Maker Market, coordinated by Muddy’s, this month. They are the most well organized, hospitable show I do, and there’s always a goodie bag for participants. In addition to a couple of hot drink coupons to get you through the cold day, there was a gray paper sketchbook with a white and a dark charcoal pencil. Bought, beautifully, from our local independent art store The Art Center. I’ve parked it on my coffee table and added a larger graphite crayon to go with the smaller pencils. It’s been really fun to have an easy to grab sketching opportunity at hand for the evening. If I’m settling in to read, I try to do one quick sketch first, especially if Mr. Darcy is posing cooperatively. I don’t often work on toned paper, and having the white to add as a highlight has been really fun to play with.
- Published on
I'm in my annual printing frenzy before the Pink Palace Crafts Fair this weekend. I've got a few new prints, and I've also repurposed some older blocks in new ways, which is a lot of fun. The couple in the top two photos was its own print, along with a bit of background. I masked out the background and then printed them over the moon block, both with and without the text of the song that gave me the idea. The black and white couples are both new ones, the first quite small and the bottom one larger, The yellow/orange rainbow roll (which I love as a technical term) is an older block again. I carved it to go with text for a series of Easter psalms I did several years ago. I decided the block deserved a solo chance in the sun as well and did a small edition of 10, just for fun. All of these, plus other new prints, are up in my online store in case you can't make the fair this weekend.
- Published on
I have a new art hero. The Orsay had a solo retrospective of Berthe Morisot while I was there, and I was transfixed. I’ve always been drawn to her paintings when I’ve seen them, but (unlike so many of the other Impressionist painters who seem to be ubiquitous), there just aren’t that many out there in museums. A telling fact in this show was that fully half the paintings were in private collections, which was a shocking percentage. What it means is that museums weren’t collecting her when they were eagerly buying up works by her male peers. Monet is in a category all his own for me — he invented a new way of painting, and while all artists (especially prolific ones) produce some uneven paintings, every period of his work is fully realized and exquisite, which is not something you can say about all artists. Even great ones. But I feel that Morisot holds her own with any of the other Impressionists and more than outdoes some of them.
I spent a lot of the show tearing up, frankly. It was amazing to read that she began showing at the Salon, the pinnacle of the French art establishment, at the age of 33 and continued to do so for a decade, barring one year when they rejected both her submitted works. I kind of doubt it’s a coincidence that that year was the same year she also showed in the very first Impresssionist show (called the New Painting). She exhibited with that group as well for all eight years of their organized shows. She participated with them against the advice of male painter friends, including Manet. She knew what she wanted for herself, and she went for it. She also continued painting under her own name even after her marriage to Manet’s brother. I have to think it would have been advantageous for her to assume that well known name, but she wanted to paint under her own name on her own terms.
Morisot was written off by many for painting mostly domestic scenes, much like her contemporary Mary Cassatt. But Degas painted a ton of interiors and women at their own daily lives scenes and never got downgraded for it. Even more, Vuillard made a career of interior, domestic scenes, but it’s ok if you’re a man. Morisot’s work reminded me of Vuillard and the Nabis as well as of the other Impressionists. Both groups of artists looked at Japanese prints and worked on compositions echoed the flat picture plane of those prints. Vuillard and Morisot both went further and echoed a lot of the surface pattern found in many of the prints. Look at this fragment by Vuillard on the left (it’s part of a huge piece, so I couldn’t get it all) and a very early portrait of two sisters by Morisot. I’m also adding a second, very typical Vuillard that has both the sense of pattern and the domestic interior theme.
I spent a lot of the show tearing up, frankly. It was amazing to read that she began showing at the Salon, the pinnacle of the French art establishment, at the age of 33 and continued to do so for a decade, barring one year when they rejected both her submitted works. I kind of doubt it’s a coincidence that that year was the same year she also showed in the very first Impresssionist show (called the New Painting). She exhibited with that group as well for all eight years of their organized shows. She participated with them against the advice of male painter friends, including Manet. She knew what she wanted for herself, and she went for it. She also continued painting under her own name even after her marriage to Manet’s brother. I have to think it would have been advantageous for her to assume that well known name, but she wanted to paint under her own name on her own terms.
Morisot was written off by many for painting mostly domestic scenes, much like her contemporary Mary Cassatt. But Degas painted a ton of interiors and women at their own daily lives scenes and never got downgraded for it. Even more, Vuillard made a career of interior, domestic scenes, but it’s ok if you’re a man. Morisot’s work reminded me of Vuillard and the Nabis as well as of the other Impressionists. Both groups of artists looked at Japanese prints and worked on compositions echoed the flat picture plane of those prints. Vuillard and Morisot both went further and echoed a lot of the surface pattern found in many of the prints. Look at this fragment by Vuillard on the left (it’s part of a huge piece, so I couldn’t get it all) and a very early portrait of two sisters by Morisot. I’m also adding a second, very typical Vuillard that has both the sense of pattern and the domestic interior theme.
Morisot subverted the domestic conventions, though. She painted women at work, even if it was the domestic work in her home and in her circle. These women have more dignity and power than many of the other Impressionist paintings of women at work in cabaret settings, where they were often victimized by men. She also painted her husband and her daughter repeatedly. In a striking role reversal, these pieces show her husband entertaining and caring for their daughter while she is the one at work. It was a quietly revolutionary act.
Her self portrait as an artist, holding her palette and looking out at the viewer full of self confidence, moved me greatly. I did a small sketch of it in my journal. I couldn’t catch the likeness, but it was good to spend that time looking deeply. I also enjoyed studying the way she used paint. One contemporary art critic called her “the angel of the incomplete.” Her brushwork depicts objects with a spare, graceful economy of paint. She catches the essence of things quickly without overworking, and she uses the bare canvas in bold and radical ways. Apparently not everyone understood this, and that very boldness was denigrated as feminine tentativeness and indecision. Some thought she was afraid or unable to push her pieces across the finish line. But she knew exactly what she wanted from each canvas and didn’t feel the need to keep working to appease some outside sense of what a painting should look like. She said what she wanted to, and she left it to stand.
I especially loved the paintings of her daughter Julie. These late ones have an almost Munch-like feel to them to me. Morisot nursed Julie through influenza before dying of it herself, far too young. I would have loved to see where her art took her next. Please excuse the glare on these shots. They’re all just my camera phone as I passed through the exhibit, but I wanted to show you some of the pieces I saw and let you get a taste of the show.
Her self portrait as an artist, holding her palette and looking out at the viewer full of self confidence, moved me greatly. I did a small sketch of it in my journal. I couldn’t catch the likeness, but it was good to spend that time looking deeply. I also enjoyed studying the way she used paint. One contemporary art critic called her “the angel of the incomplete.” Her brushwork depicts objects with a spare, graceful economy of paint. She catches the essence of things quickly without overworking, and she uses the bare canvas in bold and radical ways. Apparently not everyone understood this, and that very boldness was denigrated as feminine tentativeness and indecision. Some thought she was afraid or unable to push her pieces across the finish line. But she knew exactly what she wanted from each canvas and didn’t feel the need to keep working to appease some outside sense of what a painting should look like. She said what she wanted to, and she left it to stand.
I especially loved the paintings of her daughter Julie. These late ones have an almost Munch-like feel to them to me. Morisot nursed Julie through influenza before dying of it herself, far too young. I would have loved to see where her art took her next. Please excuse the glare on these shots. They’re all just my camera phone as I passed through the exhibit, but I wanted to show you some of the pieces I saw and let you get a taste of the show.
- Published on
One year ago today, according to facebook, I posted a blog entry (https://www.marthakellyart.com/blog/more-self-portraits4708807) about doing self portraits in Paris, and I’m at it again. Being here is always a time of reflection and experimentation for me, and reflections and self portraits seem to go hand in hand. I’ve seen several marvelous ones in museums lately by other artists, and I always seem drawn to literal self examination when I’m also doing my yearly emotional accounting while walking some miles each day. Plus I have the time to get away from show work and play a little bit, though I’ve also done show work today.
I’m in a facebook group called Self Portrait Sundays, which I don’t always participate in, depending on how busy I am and what other art I’m making any given day. But I got back on the wagon this week with the vacation schedule and a nice full length mirror here in the bedroom. I’m spending the trip experimenting with gouache and trying to get more comfortable with it. That’s definitely a work in progress, but on Sunday , after I had done the still life I needed to for my show next month, I took the still wet paints into the mirror and tried a couple of very small ones. I’m also playing around with a new white gel pen and a felt tip fude pen (with a bendable nib that lets you get more line variation). I used both on the brown paper I’ve been using for goache.
I’m in a facebook group called Self Portrait Sundays, which I don’t always participate in, depending on how busy I am and what other art I’m making any given day. But I got back on the wagon this week with the vacation schedule and a nice full length mirror here in the bedroom. I’m spending the trip experimenting with gouache and trying to get more comfortable with it. That’s definitely a work in progress, but on Sunday , after I had done the still life I needed to for my show next month, I took the still wet paints into the mirror and tried a couple of very small ones. I’m also playing around with a new white gel pen and a felt tip fude pen (with a bendable nib that lets you get more line variation). I used both on the brown paper I’ve been using for goache.
I don’t want to use all my gouache paper for drawing, and it’s quite small (the two gouache studies are 2x3”), so I found a brown paper sketch pad at a stationery store and got it to play with. I think I’ll try some landscapes with this pen combination as well. It’s fast and fun, and it either works or it doesn’t, much like watercolor.
- Published on
I’m back to fast moving work again. I’ve had several paintings going lately, including the one above. It’s a little smaller than most of mine plus quite simple, so it was really a two session affair. Again, after struggling with a print that won’t get there, it felt good to dive into something where I could see immediate results.
Pen and ink has also been a lot of fun lately. I started my food journal this week (for three days before the holiday, anyway, and then we’ll see), and that’s got me doing some fast sketching with a fat, felt tipped pen plus a little tone with a brush pen. I’ve carried that over into a new series of self portraits, just for fun. I joined a facebook group called Self Portrait Sundays, so that’s inspired me to do another batch.
I spent the evening at my work table last night with baseball on the radio and a commission to finish. When I was done I did another quick self portrait and also a sketch of my studio helper Mr. Darcy. I haven’t been drawing him much lately and have been missing that. Plus at the bottom is yesterday’s food journal page.
Pen and ink has also been a lot of fun lately. I started my food journal this week (for three days before the holiday, anyway, and then we’ll see), and that’s got me doing some fast sketching with a fat, felt tipped pen plus a little tone with a brush pen. I’ve carried that over into a new series of self portraits, just for fun. I joined a facebook group called Self Portrait Sundays, so that’s inspired me to do another batch.
I spent the evening at my work table last night with baseball on the radio and a commission to finish. When I was done I did another quick self portrait and also a sketch of my studio helper Mr. Darcy. I haven’t been drawing him much lately and have been missing that. Plus at the bottom is yesterday’s food journal page.
- Published on
I’ve started a series of quick, fat pen sketches this week. I’m back doing a food journal for a few days. It makes me think about whether I really want something enough to sit down and sketch it, which helps me keep from just wandering through the kitchen and grazing. I’m enjoying the fast pen work and have also been doing a couple of self portraits along the way as well. I’m using a fat felt tipped pen on these along with a Pentel brush pen filled with warm dark gray ink.
A lot of my recent work has been that print of the live oaks, but I've been really struggling with it. It feels good to jump to some quick sketching and get some immediate gratification as a break. I'm also back working on the waterscape series in oils. I'll have a new one of them to show here quite soon. In the meantime, I'm on tea break to post here, but back to it soon.
- Published on
I’ve been working more slowly this week, struggling a little with a cold, so stand up painting has been out, but prints lend themselves to sitting quietly. I’ve carved this one pretty fully at this point. It’s based on one of my larger waterscapes, but I liked the image enough to want to play with it in carving as well. I’ve tested it in black and white and in color, and now all the options are hanging in my work room while I ponder them and decide what I want the final edition to be. I like several options, so I think it will end up a “varied edition” where there are a total number of final prints, but they don’t all look the same. That way people can choose which they prefer.
It’s been raining like crazy, so the color test photo is pretty dark. The options are white paper on top and light blue on the bottom. I darkened the boat on the top one, and I like that better, no matter which paper I end up using (or likely both. I really like the black and white as well.
I’ve been drawing out a new water print, also based on a recent painting, and last night I transferred it to a block. I’ll likely take this one with me to Washington, since it’s nicely portable work, unlike a larger painting.
I’ve been drawing out a new water print, also based on a recent painting, and last night I transferred it to a block. I’ll likely take this one with me to Washington, since it’s nicely portable work, unlike a larger painting.
I also pulled out an older block I had abandoned several years ago and did some more work carving it. I like the moon, but it needs something to go with it. I’m pondering using it with two different other blocks I already have that I would like to revisit and use in different ways. I tend to think about one single image at a time, and collaging prints like this is good mental stretch for me.
So lots of smaller things are happening at once around here, which is great for prints, because you can let one project dry while you work on a different one for a bit.
So lots of smaller things are happening at once around here, which is great for prints, because you can let one project dry while you work on a different one for a bit.
