Drawings of Lord Leighton’s “Archway on the Palatine”, Corot, “Italian Woman”, Jean-Baptiste-Camille Corot, “The Four Times of Day: Morning, Noon, Evening, Night”.
Although badly worn and in part dubiously restored, this painting still has impact. Tintoretto was a very fast painter, favouring a dark ground. Sadly, many of his paintings are badly deteriorated. The picture above is much clearer than the painting itself. I enjoyed drawing from this because the composition is very complex. As you scan it more figures seem to appear out of the ether.
Caravaggio was the master of dramatic chiaroscuro. This was hard to capture using my HB pencil! The intensity of the scene is compelling. What really attracted me was the post of Salome, the faux modesty and disdain over what she has done. For more on the painting click here. This piece influenced my painting “The Conversation“.
Working from a pair of paintings lends the copying experience an intensity. Like working from Veronese’s “Allegory of Love” set, working from the El Greco pair means you can compare and reassess throughout. Drawing the second “Agony in the Garden” was easier in many ways. I had a clearer sense of the composition. This didn’t stop me wildly underestimating the width of the angel again though! Fantastic experience of copying from one of the most idiosyncratic masters.
At the moment the RA is showing the blockbuster exhibition of Rubens and his influence. In light of this I thought a bit of drawing from Rubens was in order. Once again, while the RA is full to bursting the National Gallery’s collection of (free) Rubens paintings is rather quiet. Minerva Protects Pax From Mars is a stunning painting. Rubens is famous for the sensuality of his paintings. He captures flesh in such a powerful,believable way. When I was drawing this I was conscious of the weight of each of the figures. The arrangement is really complicated and working in monochrome…
At the moment room 9 of the National Gallery is even more of a treat than usual. With a host of Veronese pictures hung together, including the four ceiling paintings, it’s worth a lingering visit. Captured by Veronese’s use of anatomical exaggeration to lend theatre to his work, I began sketching “The Vision of Saint Helene”. It’s been a difficult learning curb. Helene’s tilted chin, so artfully painted by the master utterly confounded this student.
Drawing out of the bus window some of the objects passing by. I used this study in my sketchbook as the basis for the aquatint “Urban Forest”. Prints of this can be ordered here.
Drawn from the range of blue thistles begging to come out in the garden in late spring last year. Using a limited colour palette of paint pens that did not include blue meant I had to think a little bit harder about the shape of the thistle.