The last two sessions of the term at The Mary Ward Centre, Queen Square, London.
The figures on the left could be in a painting within a painting. The pictoral space is slightly out. A painting is like a song or a poem: it is never real. It’s a view through the artist’s eye. The fabric and walls are from a different time and place. The figure is represented three times, once in a mirror. Every pont in the work is a decision.
A detail of the portrait under normal yellow light. I’d like the blending of the colours to be smoother. The texture of the previous painting’s brushstrokes works underneath mine quite well. One day I’ll have to learn how to work with small brushes instead of pencils, the disparity between the brush marks and the thin lines of the pencil is too wide.
Another slice of the compostion. Yes, that is me at the far right.
Earlier states. See the previous post for the studies leading up to this point.
This close up of the model’s bellybutton shows the different layers of paint.
Study 1 for Repeat Performance.
These are studies for a large canvas which I’m working on at the moment.
In the life class there are only a few subjects. The model of course, the fellow artists, Mr Skellington, the mirror, fabric, furniture, art stuck on the walls and the architecture of the room itself. As you can see This has the lot.
Here’a a detail showing the swift marks that make up the composition.
An artist at work. Sitting on what is called a ‘donkey’ a long single seater bench with an easel on one end.
Study 2 for Repeat Performance.
This study has a stronger look due to the use of compressed charcoal.
This has the same pose repeated, a reflection of the pose and then the artist. There’s some strong perspective and space with not much in it, which s important to me. A painting should not be all noise.
Being the summer, I thought the palette needed to lighten and brighten itself.
An hour on the seventh floor. Acrylics and pencil. There’s quite a lot going on here. Four poses by the model, three artists and the room itself. The images move in time order from right to left. Yes I’m rather left handed. A very exciting sixty minutes.
Among the paintings. Acrylics and pencil. This was from two thirty minute poses. The paper was stuck to the wall. The right hand fiigure is slightly warped due to my stance not being straight on. You can see the difference with the second figure. I loved painting sink on the left. Nice and solid.
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Andrew Crayford is one of the top models about. His physique, poses and dramatic cascades of curls are always a challenge ot translate onto paper.
Male nude in the white room. Acrylic on paper. Around an hour.
I made a rule not to use pencils. Tried to make a static pose as kinetic as possible by making the brushstrokes behave like water.
Details of the above. There may well be more work on this one. The background was painted at home around 11:30 that night.
The light was fascinating, the dying sun flowing slowly across the figure.
3 versions of A. Blocking in the figure and then working over the darker colour seems to work at the moment.
A detail of Andrews face, framed by curls.
Andrew x2. Both 10 minute paintings.
Andrew in blue. There’s a sense of tension here.
In heaven again. Acrylics on paper. This is not the finished state. Interesting flatness and line. The shapes work well. I’ve been adding pencils to it. Could be quite strong.
In the studio. Mr. Jeffs the artist, Mr Skellington, plant and bust. Compressed charcoal, white soft pastel and a little water. 20 minutes.
The model was a dancer and this made for a fantastic 40 minutes of drawing movement. Exhilirating! The hand tried to keep in time.
This has a touch of the early 20th century. Pencils and soft pastel.