Tag: portrait painting

Drawing

“Color always occupies me, but drawing preoccupies me” Delacroix

“Drawing is the basis of art. A bad painter can’t draw but one who draws well can always paint.” Arshille Gorky

I always have a pocket pad on me, usually 3×5 inches, and then a slightly larger one in my ever present book bag. When I travel, what pads and accoutrements I have depends on length of trip, location and what else I will have going on while on the road.

It took me many years of trial and error but I have my trip equipment selection process down pat. For the past month or so I have been writing about equipment given to me by Royal Talens.  My current go to pad is by them, but I had discovered it long before they had sent me anything, Talen Art Creations Multi Media pocket Pad 4×4 inches

You can read my initial impressions:

Pocket Pad

I have never looked at drawing as a second class citizen in comparison to painting. No matter if I have spent the day painting or doing some of my other visual works, I draw an hour a night, every night. This woodshedding is akin to a musician practicing scales, but also one of my greatest pleasures in life.

I initially discovered water soluble graphite by complete happenstance. Once I had the mechanics down, I was able get painterly effects. When I work on my Cinefield® pieces, I can not draw as an under construction Cinefield® piece slowly dominates the space of my studio. But, I also do not want to let too long go without painting, which I end up missing.

Water soluble graphite work is the same as painting but in all greyish black tones. I can use my witting desk and do a piece in one session. I may not be able to paint but this was very close. Unexpectedly, I found that as I added to my graphite technique it helped my painting and vice versa.

I was just on the road and while it was a short trip, I had a lot going on. With this is mind I knew I would have no opportunities to paint. I brought my water soluble kit. Another important aspects of this medium which I like it how compact it is. 2x graphite sticks, a sharpener and one watercolor travel brush. I can literally put it in a coat pocket. If at a cafe I use a mineral water cap, in hotel one of the plastic cups to be found by the gratis bottles of dasni for water to dip brush into.

Here are some latest pieces:

by Wayne Wolfson

Amanda

Still not sure when I am going to have a chance to take photos to use as source/fuel for my Cinefield® work. In the interim I have been enjoying painting and drawing in my trusty pocket pad. A few people had commented on noticing I had changed type of pad I use a few months ago.

Always on me now is Talens Art Creation Multi Media 4×4 inches. It stands up to blending I do when watercolor painting and same with water soluble graphite. A small thing, but which makes a big difference for the times I throw it in my bag instead of pocket is that it has an elastic which holds it closed. This means that the pages are never torn nor bent.

This piece is watercolor & multi medium paper 4×4 inches. As always, if you have interesting photo of yourself that I might be interested in drawing, drop me a line

by Wayne Wolfson

Delight

I currently have no new raw material (photos) for my next Cinefield®. I do not mind as I am enjoying painting. Portraying human flesh with paint continues to give me the same pleasure as when I initially was able to do it well.

Here are two new pieces. Both are watercolor on paper. One in my pocket pad 4×4 inches and the other a new paper I recently discovered 5×7.

There is a great quote by author Paul Auster along the lines of “Do a thing simply for the beauty of doing it.” As an artist, I came up pre-internet (this was when I also had to have a string of terrible day jobs) A buddy and I would do literal Xerox-staple ‘zines. We would run all over town bullying, pleading & annoying Bookstores, Record stores anyplace, to carry them.

If two people saw them, you felt like you were one hundred feet tall. But, this was the bonus as it was about serving the process. It was a calling, a romance, which I am still swept up in. There was not the worry of social media numbers, likes. reposts etc.

I have noticed that many Parisian artists sort of have this attitude. Of course it has become a necessity to maintain an online presence no matter where in the world one is, but you do not see heads bent in prayer to screens in the same way you do stateside.

Do a thing for the beauty of it and the rest will follow, it may not be as immediate as posting and then getting a “like” but it will be more lasting and meaningful.

by Wayne Wolfson

Paris Painter II

The lighting in my new studio is different, but I feel I have a handle on it now. I am well into the swing of things. I’ve mostly been using my semi new to me pocket pad for painting. Drawings been spread out all kinds of paper. 4×4 inches

I discovered a new to me paint company. They have been around since 1830. Among many greats, Matisse and Renoir got their watercolors from them. They remain very artisan. Just looking at the paints you see the difference in pigments. They also have proprietary colors.

paints are not paints, each hue has its own distinct properties and then this varies even more from company to company.

Not knowing if I would like them, I just bought five to try. This is why on my first piece skin doesn’t have volume & mass I usually achieve. I instantly liked the paint, it handles diff than anything else I have used. Decided to go all out, new 5×7 paper, new paint.

Maestro. One my fave statues in all of Paris.

by Wayne Wolfson

Twirl

I used a toned tan paper for this painting. It requires a slightly different touch as it’ heavier than my usual paper. I am grateful for the trust put in me by my models (mostly friends & acquaintances) . This allows for a relaxed attitude in posing, the mien organic and revealing a truth.

“Twirl” 11×14 toned tan 184 lb paper

by Wayne Wolfson

In the Car

I have started reading The William H Gass reader. Right out of the gate I found myself deeply enjoying it. One of the first essays is on books which were touchstones for his life as an author. Early on he makes a point of drawing a distinction, it is not supposed to be a “best books” list but rather ones which resonated personally for him and which served in his journey into becoming an author.

He mentions Flaubert’s Bouvard et Pécuchet. Of the trinity of Flaubert, Balzac and Zola I had always held him in the least esteem (with Zola being, in general, one of my favorite authors). Right before returning to France a few years ago I read the excellent bio on Cezanne by Alex Danchev. Cezanne talks so passionately about Flaubert, i felt the stirrings of considering giving him another try.

That season I kept meeting Helene and Charlie for drinks and book talk. Her admiration of the trio was the inverse of mine. Her description has stuck with me:

“With Balzac, it was all money, money, money if only I had the money. With Zola it was sex, i need power to get sex, I use sex to get money to get power to have sex. But Flaubert, there is an author, the sentences each meticulously crafted.”

I decided to give Flaubert another try. I went to Gagliani and bought Sentimental Education and Bouvard et Pécuchet. I read Sentimental first. It was good, i definitely had more appreciation for Flaubert than I used to. It was Bouvard though which sealed the deal for me. I found the book darkly funny in the way early Celine had been.

What is interesting to me is that when this book is discussed it’s merits are often described via a shorthand of being “funny” ala wacky Swiftian satire. I think people perceive it this way because it and Sentimental Education form perfect bookends. The later is more outwardly “dark”. I like it, but really it is just a romantic era story of squandered potential and the dried up promises of bygone youth. And, of course, the usual chess like romantic patterns of the main characters. Bouvard is actually a darker novel.

Gass has very much same assessment. His articulation spot on and obvious, but not until you have heard him say it.

I would never argue interpretation with someone on art unless they were 100% wrong. With my own work, unlike when I was first starting out, I rarely talk about it. Fascinating though that art can have completely differing interpretations. Is one person wrong or are they merely noticing and emphasizing in talking of it, a different aspect than someone else?

The pandemic has effected people in drastically different ways. I am not talking about how they directly handle it i.e wearing a mask, not wearing a mask et al. Rather, the sea-change that has come over people in regards to their personal philosophy. For some it served as grim reminder that life is fleeting so live while you can. For others, it has served to bring on a sort of cautious vigilance less something else unexpected further swat us down.

A type of cabin fever-life is too short bubbles up in many and temporarily dictates their actions. I find myself getting notes, photos, movies which when looking at, I keep this in mind.

One of the photos which I recently received had an interesting compositional point of balance. I decided to make a painting of it. As i worked on it, I found people all had different interpretations on it. “Hot” “Silly” “Weird” “Beautiful”. Like Bouvard, it has a little bit of everything in it. The main overriding intent is not for me to say as why would I want to make anyone wrong and temper their enjoyment.

“In the Car” 9×12 watercolor & paper

by Wayne Wolfson

Birthday

I have noticed lately that there are a lot of museum shows & installations “walk through a van Gough painting” type of things using projections and other tech. I am sure this will attract revenue. For anything which is lazy, bad or dare I say plebeian, there are intelligent people out there ready to supply articulation as to justify it. The gimmick as (art) museum show; “This will attract those who don’t usually go to museums.” It is not so much bringing culture to those who normally would not bother but rather a transmutation of it into something akin to the latest block buster movie.

The problem with this is that it makes the artist/work besides the point. It is spectacle as focus and not artist work/intent. The deeper problems with this, as it is many people can not stand in line to get their coffee without keeping their head bent down in their phones as to be blasted by digi-sensations as to distract them from their five minute wait. A Picasso-laser show type thing is further contributing to a complete lack of the public’s ability to “merely” stand and look at a work of art. All art regardless of era and medium has a component of contemplation to it. We are perhaps a few years away from people going to one of the great museums of the world, standing in front of an immortal piece; a Renoir, a Velazquez et al impatiently waiting for the razzle-dazzle to begin.

When reading about art, depending upon where you live, there is a lack of the ability to go out and actually see the painting or works by a specific artist. The internet is good to look something up and get the gist of it, but it can not compete with the real thing. There is a difference. Looking at works mainly online, going to mutli media mutations of an artist’s work have changed what looks “right” or “good” to a modern art audience. They do not want to see brush strokes or other evidence of an artist’s hands which are a part of their voice. A smooth machine like perfection as encountered online, on postcards is what is now preferred.

One could imagine Soutine talking to a gallery owner or museum director and being told “Don’t worry, we will smooth down the rough edges digitally…”

You can’t fight progress nor the populist bent but merely offer an alternative for this willing to explore. The ability to portray flesh in all its beautiful imperfections is something I will never tire of.

“Birthday” watercolor on tan paper 11×14

by Wayne Wolfson

Orange Cardi

The sky has finally stopped looking like a martian dawn. I was able to finish the painting which had been on hold for what felt like forever. It was an odd sensation having a painting quarter of the way worked on and having put it aside due to circumstances beyond my control.

I feel fortunate that I had other mediums I could do while I waited (collage & my daily drawing). Finally was able to suss out how to use my new slr camera. I think the photos really show you depth and detail better than i had previously capture with my phone.

“Orange Cardi” 9×12 Watercolor & Multi Media Paper

by Wayne Wolfson