Cézanne could not draw…

Visitors to “Cézanne Drawing” at the Museum of Modern Art may be astonished to learn that critics once complained that the late 19th-century French artist could not draw. With about 280 graphite, ink and gouache drawings and watercolors—over a third of them from private collectors—and a handful of related oil paintings, the staggeringly beautiful show proves otherwise. Organized by Jodi Hauptman, senior curator at MoMA, and associate curator Samantha Friedman, it also argues convincingly that Paul Cézanne (1839-1906), a foundational painter of modern art, produced his most radical work on paper.

The exhibition, arranged in broad, thematic terms, opens with loose study sheets and pages from the artist’s sketchbooks. Cézanne drew almost daily over the course of his career, using standard studio materials, and produced more than 2,000 extant works on paper. Though they rarely served as straightforward preparations for his oil paintings, his drawings pull us directly into his potent creative orbit…

After a dark year of building walls between ourselves and the world, “Cézanne Drawing” invites us to discover at an exhilaratingly intimate range the luminous genius of an artist whose work remains as rewarding as it is demanding.

— Mary Tompkins Lewis, from “‘Cézanne Drawing’ Review: Radical With a Pencil” (wsj.com, June 21, 2021)


Notes: 1) Paul Cezanne ‘Still Life with Cut Watermelon’ (c. 1900), 2) Cézanne’s ‘Coat on a Chair’ (1890-92).

Lest We Forget

Alan Sun, Art of Marp: “Did a painting to commemorate the 100th Anniversary of the armistice in Europe. On the 11th hour of the 11th day of the 11th month, the guns fell silent.” (Nov 11, 2018)

 

I am always wondering if there’s something holy between people, a formless thing, something that can’t be bruised

Monique Passion, Secret

I keep wondering what, in me, might be constant. I catch myself looking for that remainder, retracing my steps as if in search of lost keys. I am always wondering if there’s something holy between people, a formless thing, something that can’t be bruised… But maybe I really did sense something vague and holy in others’ eyes, something sacred in crowds, in a bus of people staring out their windows, watching life. There should be a middle ground between believing in a certain god and believing that some mysterious third substance was between people. Like churches, I thought, there should be a place for people who just weren’t sure. There should be a place for people who see something but won’t dare say what it is. Maybe there’s something, something between people that is more than air and empty space, something holy in that nothing between one face and another.

~ Catherine Lacey, from “The Answers: A Novel” (Farrar, Straus and Giroux, June 6, 2017)


Art: Monique Passicot, “Whispers“, 1991, colored pencil / graphite, 10x7in (via Hidden Sanctuary)

When you are alone and you look in a mirror you never put on a pleasing smile. Well, you don’t, do you?

David Hockney was way ahead of today’s ubiquitous selfies. In the 1980s—already famous for his painted landscapes of California pools and suburban houses—he threw himself into drawn, painted and photographed self-portraits…

At first the Hockney self-portraits showed vulnerability and self-consciousness, according to Dr. Brooks. But over the years, he adds, they showed intense self-examination. Mr. Hockney has depicted himself with his mouth wide open in surprise, with a scowl or with a cigarette hanging out of his mouth at an angle.

The results, as well as Mr. Hockney’s wider interest in photographic collage, are the main focus of “Happy Birthday, Mr. Hockney,” a celebration of his turning 80 at the Getty Center in Los Angeles, opening in two stages, June 27 and July 18. Most of the versions of Mr. Hockney on view, though, don’t make for a cheery celebration. “I usually only draw myself in down periods,” Mr. Hockney told London’s Telegraph newspaper in 2001. “I suppose that’s why I often draw myself looking grim. I just think, ‘Let’s have a look in the mirror.’ When you are alone and you look in a mirror you never put on a pleasing smile. Well, you don’t, do you?”

~ Alexandra Wolfe, from Self-Portraits and Photos for David Hockney Birthday (wsj.com, June 23, 2017)


Notes:

  • Photograph top: David Hockney with ‘Blue Terrace Los Angeles March 8th 1982’.
  • Drawing: David Hockney ‘Self Portrait, 20 March 2012 (1219), iPad drawing printed on paper, mounted on Dibond.

 

It’s been a long day

friendly-monster-tired


Notes:

A small, sweet, plosive sound comes from his lips, after each entreaty the same noise, a breath out and a consonant mixed with spit.

baby-drawing

Four days later, Ev starts to talk. His sounds have been buffering at meaning for weeks, but now they emerge as his own handiwork and he sets them gently one beside another in lines. […]

Children are born into language. They understand the nuances of speech at birth and Ev has been listening to our ceaseless chatter for months in the womb. He has been read to and sung to and laughed at. He knows the pattern of our voices and by its cadence he knows too that something is happening. My face signals it, and the sudden sparks of urgent conversation, the gaps that follow.

Ev’s vocabulary as he presents it to us is superlatively normal. He has no words for fear. He says Daddy to mean either of us, kee for monkey and Oh no! at all upsets. Ssss serves for snake, the letter S, and any linear thing like a belt or bit of his railway track. He says click for light and sta for monster, gakator for tractor and soon has a small handy clip of words like digger, apple, spoon, butter, cardi, eye, toast, brush. Seem means machine. He can do two, three and four. And in a way that is entirely normal too, we poke him and spur him on. This is what you do with children, goad them for your own enjoyment. Make a noise like a volcano, we say. Make a noise like a firework. Make a noise like a dinosaur. His eyes are merry. A small, sweet, plosive sound comes from his lips, after each entreaty the same noise, a breath out and a consonant mixed with spit. […]

He is the size of a cat; a thing of gold fur and whitened sunshine. His hands paw and pat the textures of the food as he draws each substance one by one into his mouth: sour, sweet, char, salt, pulp, oil and leaf.  […]

He goes at food with intellectual interest and straight joy in taste. It is bonny. If I had known how much pleasure I would get from watching my baby eat I would have thought it an argument for more babies. It is such a treat I can’t take my eyes off him and I mask my keenness in case it makes him suspicious that there is something more at stake. So I eat with him, or look out the window or pretend to read the paper. He spoons up lentils, snuffles through tomato sauce with basil and surges his pasta round in it, he dips bread in spinach soup till soup and bread are one and sucks it. He holds broccoli like a cudgel and stuffs one, then two, three, four trees into his mouth. He eats liver! He eats bananas and garlic and stir-fry! We goggle at him. We win and he wins. We all triumph together.

~ Marion Coutts, The Iceberg: A Memoir


Baby Drawing: Ben Connell

 

It’s been a long day

28_four-women-mark-horst

I remember too much;
I am like the air on a calm day
as it holds itself still,
letting nothing escape.
As the world holds it breath,
I keep memory in.

~ Colm Tóibín, The Testament of Mary


Notes:

Perspective of time and distance alter substance

pascal-campion-drawing-illustration-jump-child-youth-memories

In the poems I have been thinking of and writing the last few years, I have grown aware that childhood is a subject somehow available to me all over again. The perspective of time and distance alter substance somewhat, and so it is possible to think freshly of things that were once familiar and ordinary, as if they had become strange again. I don’t know whether this is true of everybody’s experience, but at a certain point childhood seems mythical once more. It did to start with, and it does suddenly again.

~ Donald Justice, from an interview with The Missouri Review, quoted by Linda Pastan, “Yesterday’s Noise: The Poetry of Childhood Memory,” Writer (vol. 105, no. 10, 1992)


Credits: Art – Pascal Campion. Quote: Memory Landscape

 

Guess.What.Day.It.Is?

wednesday-hump-day-funny-gif-camel


Notes:

Man Deconstructed. Is it any wonder? Come on Ladies…

olena kassian drawings rising, detail 2, 36- x 29-

Jessica Bennett, A Master’s Degree in … Masculinity?:

Michael Kimmel stood in front of a classroom in bluejeans and a blazer with a pen to a whiteboard. “What does it mean,” the 64-year-old sociology professor asked the group, most of them undergraduates, “to be a good man?”

The students looked puzzled.

“Let’s say it was said at your funeral, ‘He was a good man,’ ” Dr. Kimmel explained. “What does that mean to you?”

“Caring,” a male student in the front said.

“Putting other’s needs before yours,” another young man said.

“Honest,” a third said.

Dr. Kimmel listed each term under the heading Good Man, then turned back to the group. “Now,” he said, “tell me what it means to be a real man.”

This time, the students reacted more quickly.

“Take charge; be authoritative,” said James, a sophomore.

“Take risks,” said Amanda, a sociology graduate student.

“It means suppressing any kind of weakness,” another offered.

“I think for me being a real man meant talk like a man,” said a young man who’d grown up in Turkey. “Walk like a man. Never cry.”

Dr. Kimmel had been taking notes. “Now you’re in the wheelhouse,” he said, excitedly. He pointed to the Good Man list on the left side of the board, then to the Real Man list he’d added to the right. “Look at the disparity. I think American men are confused about what it means to be a man.”

Read full post here: A Master’s Degree in … Masculinity?


Notes: Drawing by Olena Kassian @ olenakassian.com

Monday Morning Wake-Up Call

art-digital


Angry Owls by giovannag (via Your Eyes Blaze Out)

Bethany Gosvener

bethany-gosvener-art

Bethany Gosvener is a Portland, OR based visual artist.

So here I am.  Doing exactly that,  and freaking out every bit of the way.  Ha.  I’m grateful for those few years of trial and error.  They allowed me time to develop and teach myself a variety of skills.  It may sound odd,  but even I am still shocked to see the work I’m doing.  I can’t believe I had no idea this natural ability was within me.  I am in an endless debt of gratitude to Steven for pushing me,  supporting me.  For loving me through some of the hardest times of my life.  It blows me away. I am so blessed.


Image Source: Jaimejustelaphoto

Charmaine Olivia

Charmaine-olivia


Charmaine Olivia is an artist from Oakland California.

I spend the majority of my days continually teaching myself how to paint and draw. I am extremely curious and passionate about life, beautiful things and creativity.  The best way to know me and my work is through my social networks: TumblrInstagramTwitter, & Facebook. My illustrations, photography and paintings have appeared in publications, museums, galleries and private collections throughout the world. Some of my clients and projects include Urban Outfitters, Lady Gaga, Hallmark, Volcom Stone, Element, Nylon Magazine, & Inked Girls Magazine.


Source: Charmaine Olivia via Maevie Kathleen

Home from work. A long day.

Dagmar-Cyrulla-drawing-woman


Dagmar Cyrulla (Australian, Melbourne) – Ebb And Flow, 2013. Drawings: Charcoal on Paper

“Recognised for producing works of stirring psychological intensity, Cyrulla has brought a new dimension to contemporary Australian art. She neither glamorises nor romanticises her subject matter but does show an intense respect for the lives portrayed by acknowledging we all have private worlds filled with mystery.”

– Catherine Caines, September 2011, Wish Magazine The Australian

Find other fine works in her portfolio here.


Source: Thank you Your Eyes Blaze Out


The Problem

drawing-heart-Shaz-Aslam

The problem (if there was one) was simply a problem with the question. He wants to paint a bird, needs to, and the problem is why. Why paint a bird? Why do anything at all? Not how, because hows are easy, series or sequence, one foot after the other, but existentially why bother, what does it solve? Be the tree, solve for bird. What does that mean? It’s a problem of focus, it’s a problem of diligence, it’s supposed to be a grackle but it sort of got away from him. But why not let the colors do what they want, which is blend, which is kind of neighborly, if you think about it. Blackbird, he says. So be it. Indexed and normative. Who gets to measure the distance between experience and its representation? Who controls the lines of inquiry? He does, but he’s not very good at it. And just because you want to paint a bird, do actually paint a bird, it doesn’t mean you’ve accomplished anything. Maybe if it was pretty, it would mean something. Maybe if it was beautiful it would be true. But it’s not, not beautiful, not true, not even realistic, more like a man in a birdsuit, blue shoulders instead of feathers, because he isn’t looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible, unless his heart is a metaphor for his heart, as everything is a metaphor for itself, so that looking at the page is like looking out the window at a bird in your chest with a song in its throat that you don’t want to hear but you paint anyway because the hand is a voice that can sing what the voice will not and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart. Answer: be the heart. Answer: be the hand. Answer: be the bird. Answer: be the sky.

~ Richard Silken

 


Credits: Poem – Fables of Reconstruction. Drawing by Shaz AslamRichard Silken Bio

Every day, start again.

drawing,illustration,woman,ponder,grief,thinking,thoughts,black and white,art,woman


Credits:

 

 

Bond 007, or is it?

illustration-natasha-kinaru-daniel-craig


One would think this was a great photo, right?
And if one did, they would be dead wrong.
It’s a Pencil Drawing by Russian Artist Natasha Kinaru.
Check out more of her amazing Celebrity Pencil drawings here.


Idea Credit: Living in Maine

Coffee and Milk


Speed Drawing in watercolor.  I’m in awe. Love the music too.

Find more “grunge” art by Lora Zombie on Facebook here.

Find more music by Youth Lagoon at iTunes here.


What did Dad pack you for lunch?

David Laferriere, a graphic designer and illustrator from Massachusetts, has been drawing on his kids’ sandwich bags with a Sharpie marker for more than five years.  1111 bags and counting.  “I’ve been doing it for my kids since they were little…They love it, and nothing makes me happier than hearing their reaction at the end of the day…I used to work nights at a newspaper, and I’d be up early in the morning making my kids sandwiches,” LaFerriere, a graphic designer at Wheaton College in Massachusetts, told Mashable. “I started drawing on the baggies, sort of as a way to channel my creative juices in the morning, and it just ended up sticking.”  His kids, Evan, 16, and Kenny, 14, were both in elementary school when it started. Now that they’re older, LaFerriere said, they and their friends still look forward to the drawings every day.  I’d like to keep doing this for as long as possible. Of course, things will change once they go to college — but I can still send illustrated care packages,” he said.  See Flickr blog for the video.  See Laferriere’s Flickr photostream for all of his illustrations.  Cool!

sandwich bag art, cookie, monster,sandwich bag art, illustration


Sources: blog.ficker.net and Mashable.com,

Every Day Mind

illustration, sketch, painting, paint, art, blue sky, optimism

Every day mind is getting out of bed, eating breakfast, going to work, coming home, going to bed. It is laughing and crying, being anxious and joyful. Everyday mind is walking and talking, sitting down and standing up. It is the mind of suffering, conflict, anger and hatred, love and devotion. How can everyday mind be the way? Everyday mind, we say, is too mundane, too ordinary, and so we want the opposite, we want the magical. It is our very search, our lust for the miraculous and magical, that hides from us the truth that simply to be, simply to know I am, is already the miracle that we seek. Everything, as it is, is perfect, but you must stop seeing it as if in a mirror, as if in a dream.”

~  Albert Low


Albert Low, 84, is a western Zen Master, an internationally published author of 11 books, and a former human resources executive. He has lived in England, South Africa, Canada and the U.S. and has resided in Montreal since 1979.  He was born in London on December 16, 1928. He left England with his wife Jean in 1954, and emigrated to South Africa. There he was employed by the Central News Agency where he eventually, he became the senior personnel executive. In 1963, he left South Africa as he could not agree with the apartheid policy and moved to Canada. He settled in Ontario and was again employed as a personnel executive, this time with a large utility that was at that time called the Union Gas Company. Eventually, he wrote a book based upon his researches: Zen and Creative Management, which has since sold more than 75,000 copies. During his time at the gas company, he continued to give talks and seminars on the subject of management, organization and creativity — the latter a subject he has spent considerable time studying, and which is very closely connected with Zen practice.


Image: Mathiole – “The Optimist” from 1000 drawings. Quote: Whiskey River

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