Falstaff ‘Riffing

It was magical in that the rain held out every day, aside from minor flare ups, until I was home for the night. I would lay in bed and see the lights of other people’s home’s flicker through the sheets of heavy Parisian rain. The steady rhythmic sound as it hit the zinc tiles made music unnecessary.

I was reading Harold Bloom’s “Falstaff Give Me Life”. A meditation upon the character & literature. Some of his pronouncements (in general) are controversial but he always walks the reader through his thought process. Unlike a lot of essayists of later generations, he does not insist he is correct because it is how he feels but instead presents evidence cited to back up opinion.

Of course personal taste enters into it too. I confess some works of which he is passionate about do nothing for me. The mark of a great thinker and essayist, I am still interested to read what he has to say.

For me, Shakespeare is not the same end-all-be-all. I prefer my Greeks & Romans. It did prompt me to revisit the bard and also the Verdi Opera. (In the book he mentions the opera, making a specific point of  “that Falstaff not being the one written about”.

I got more enjoyment from revisting the bard. I already owned the opera, bought originally solely because Bryn Terfel was in title role. I delved into it again and found I enjoyed it much more than at the time of my original purchase, now listening to it at least once a week.

Falstaff, just under the surface of his merriment can be glimpsed a bent to self sabotage or a fatal purity, to not play the game of politics & ambition but rather stay true to himself via  appetite. Appetite that is not always to be satiated but the attempt to do so being the best way to honor & live life.

It all makes for some great base material of art in any medium. Here are some quick sketches, riffing upon the theme.

 

 

 

Bastille Day

Happy Bastille Day.

 

Had to get a friend a gift from Shakespeare & Company. Perfect symmetry. Victor Hugo had always been against the title “The Hunchback of Notre Dame”.

 

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Hot House

People have forgotten how to look at figurative art.

This largely is on account of the always present phones in our lives. Ever present and ever ready to capture whatever we deem important or interesting. The ability to now document the minutia of our lives has made it so that the “merely” representational images seem “off”, wrong or not impressive, so used to the availability of actual photos have we become.

Now, if you draw a person, it needs to be hyper real to be appreciated by the casual art peruser.

It is all right for a portrait to look like the subject but also like a painting/drawing.

We treasure the paintings of Matisse and while when he portrays a woman on a couch we know what we are seeing, no one is going to ever use it to do a technical anatomical study from. The emotion resonating from his work not technical portrayal is where the joy is to be found.

Another aspect which seems largely forgotten are the dynamics between artist & model. While most artists want to convey the likeness of their subject, ultimately it is as if the artist is describing the model using their words, words in this case being their style (technique).

A final important component in portraying a subject is that none of us look the same all the time. Mood, health, ambient surroundings all dictates changes on our faces, bodies and even body language.

I often use same people over the course of many works, each time there are little differences. This is not imperfection of technique nor chops operating only at a certain skill level.

Doing it right, a series of pieces using same subject is not dissimilar to Bird & Diz riffing off of Hot House. The basic structure remains familiar but with changes built off the initial theme, always slightly different but containing recognizable components.

 

Here is informal series I did. I never think of what I want to portray, I just execute what I see without agenda. After the first piece, this series showed a playfulness along with a bemused surprise at a until then, thought secret vulnerability.

Music Addict Paris ’18

 

Jam session

Anytime one sees Paris on television or in the movies, as a character passes by a window or stops in front of one to gaze out and ponder some plot point, the Eiffel tower can be seen.

More often than not, this is not geographically accurate for where the action is taking place.

That aside, not a bad view to be sure. But I think there are more inspiring views which would have less ambient noise of tourists etc which can distract from living one’s life (working) in the city of lights.

Year after year I live in the same place, same arrondissement, in Paris. It is  a working neighborhood, meaning no tourists.

However, every other door which is not a residance seems to be a bar or boulangerie.

I am ten minute walk from places to sketch like the Luxembourg gardens.

I have, after all these years become a part of my neighborhood.

When I am elsewhere in the world, I dream of being back. I have decades long relationship with my wine merchant, butcher, greengrocer and baker.

There is established level of comfortability that I know I can sit in a bar sketching on the sly and not be perceived akin to one of those people with their laptops “writing” to be found in every Starbucks stateside.

It kept raining off and on…steady rain would be all right people would click clack down the wet cobblestone streets holding a newspaper or their jacket, cape like, over their heads.

Sporadic rain, it got humid. Clothes got wet, then you find yourself cold, followed by a type of sticky as body heat working over time dries away the rain.

Stop-start of the skies festivities,  people are just staying wherever they are at.

I am in one of the little intimate bars which despite my now having a studio, serves as an unofficial office.

There is a tall brown haired girl sitting alone at the bar. She wears a still wet dress whose true color is slowly being revealed as it dries.

I am at my usual table, stealing pieces of her with my pencil.

A guitarist is in the corner playing.

At first he is playing for her…his fingers conjure up abstractions which encapsulates something that could make one happy to be blue.

She is forgotten, now he plays for himself.

Her change on the counter, the cymbal fall, the end of a song.

He sees me, I nod.

I hold two fingers up to the bartender. He has never cared about busy versus dead nights so long as he sees the familiar faces of regulars over the course of the week.

We Klink our glasses.

I see him look at my sketchpad. Without hesitation I hand it to him to inspect.

He had originally wanted to be a poet using language and words as to convey the emotions which are now brought forth via his fingers. Words to make people feel.

I had wanted to, in my youth be a musician .

We had both found our way, just not in the manner originally envisioned.

Paris May ’18

 

Quick sketch

 

 

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Return to France

Before heading to my home in Paris, I was down in the south of France doing research for an essay of French gastronomy of a bygone era.

It was not conducive for my painting but I did sketch non stop. I utilized my ever present midori passport pocket pad.

I enjoyed the challange of such small size, 3×5 to create fully realized pieces.

Some of my reading inspired me to shake things up as I had long been familiar with the size. I started using both sides of the page, holding the pad vertically (so that what were the books edges became the too and bottom).

It was interesting ng in that more space does not necessarily equate to easier .

One has to think of compositional balance differently.

Back in paris. First morning in studio started a painting 5×8. The weather going from overcast to rain has not facilitated progress so I am back to sketching.

I find myself now also combining my own texts to pieces.

Even with the rain, it is great fun adding to myself in a way which shall remain with me.

 

 

 

 

 

Charcoal

I have just started experimenting with charcoal. I am sure as I use it more, I will become even better but right away I feel it a successful medium for me.

There is a looseness to charcoal which lends itself to an emotional expressionism. When I do a charcoal piece, i do not use pencil first. To utilize the safety net of being able to erase is to miss the point of what charcoal has to offer.

Here are my very first tries. With the portraits i have done, there is a sort of gauze like effect. For myself, i generally work fast. Charcoal seems to want the speed of hand as to offer up more organic depth.

“Miles” 9×12 “Left Bank,Paris” 9×12

 

 

The Perch

Watercolor  Paper 5.5×8.5

 

Every time I return to Paris I find something new to treasure. To just walk the now familiar streets or look out at night over the rooftops while Zoot Sims plays is a pleasure I never tire of.

 

This is view of Left Bank I haunt. 34963289155_c98e846dc2_o

Blue Hour

 

Watercolor & Mixed Media Paper. 9×12 For Marinabluehour

Not my preferred paper for painting but if I can get desired effects w/it then it is “easier” when using ideal French Cotton Paper. I always enjoy challenging myself as to avoid lapsing into mere mannerism.

Left Bank, Paris-France.