Complex, high pressure day at work, which left me satisfied, followed by a drive in the rainy dark down a country road to Life Drawing. Haven't been able to make it in over a month. Got there early and had time to walk up the dark gravel road in the drizzel and then to help set up. Finally, I sat and unwound before the model arrived.This model is becoming my favorite to draw. Her poses are beautiful in a natural and spontaneous way, she holds them quite still, and she has the proportions the Classical Greeks sought at the height of their sculpting powers. Long hips and proud powerful lines. I never feel I do her justice, and I never tire of the attempt.
The warm up sketches were meh (none shared here) - but from the first long pose, the 25 minute one above, I found a way to say what I wanted with the Conte crayons and the brown craft paper. These are 18 x 24, and are not cropped. I sense bones under those lines - that's what makes it work.
This second drawing I include not because I'm pleased with it, but because it shows a more fresh and successful right brain approach for her lower half and a fussy left brain unsuccessful approach on her upper half. I was on the right for about 5 minutes, and got stuck on the left for the remaining 20.I tend not to attempt faces unless I'm prepared to do the work needed to capture a good likeness. I keep intending to achieve some speed and confidence at home on photos, with a timer (maybe use a pose app I know of online), in order to develop a method, but I never get around to it.
I enjoyed evey minute tonight. And I picked up six egg rolls (three kinds) at a favorite Chinese place on the way home and split them with Oldest.
Click images for larger views. I would love to know what you think.
3 comments:
I like all three of these new ones as all have that certainty of line I've seen developing in the life drawings you've been concentrating on this past year or more. I like the fact that you suggest support rather than overdrawing whatever props are being used for the session. You've become very proficient at revealing the underlying bone and musculature of your models along with the essential balance inherent in making the figure real for us. They do contain a vitality of life as well as a sense of clarity and harmony.
The second is an especially magical piece of illustration that really could serve as a study for one of the wonderful oils done by Titian or Valazquez. Repose seems the most natural position for a nude and this one is timeless. You've captured the lyrical nature of the pose beautifully with your sensitive use of the Conte crayons to suggest the softness of sleeping youth as well as her natural tensile strength.
You may not be able to be around the blogs so much these days but you have definitely been using your time wisely and well.
susan says it best....and it is good to see your work in front of me again.
i should be responsible to my health and shut off this computer but i was transfixed-again-by your nudes. they are absolutely stunning. i love that you've attempted to capture the bones. i am into bones too, and i don't know why...but i haven't got the health to go to classes anymore so paint more from a feeling of my own...everything i paint is a self portrait anyway and i am one boney old lady.
i love how you've used the white and it seems they glow where they are, as if they are making their statement by their presence.
they are very powerful to me. i think the middle is my favorite if i were to pick one but the last one too is beautiful...for me, the first is larger, more muscular but equally different and gorgeous.
i have missed you my friend and hope to see you soon over on my little blog. i had to escape blogger and am very happy there now. be well and happy.
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