Made a painting from my tree drawing. I’m more reluctant to share early (stages of) paintings but here’s a detail and the necessary studio drawing adjustment:
The rest of the day is mostly in pictures. I spent two delightful hours with the Auerbach collection of particularly generous CLC parents, who have let me study their pictures at will (!). Then I attended my first Life Class as a student for years … (I was bound to be influenced by my afternoon with Auerbach …).
Auerbach studies – all from the original pieces. The drawing are almost impossible to draw. By building up felt-tip strokes I could retrace his painting process to a tiny (i.e what he did on the last day!) extent:
From Robert Hughes – Auerbach was surprised when people focused on the thickness of his surface:
“is blue better than red, thick better than thin? – no. But the sense of corporeal reality, that’s what matters … I wanted something different [to English 20th C painting]. I wanted to make a painting that, when you saw it, would be like touching something in the dark [my italics]. But Matisse could do that with thin paint and bright colours!
I find vaguely reassuring as I scrabble around for the ‘right’ influence/subject matter, that Auerbach has apparently random photos of paintings around him in the studio – and he would draw exhaustively from a painting in the National Gallery – no matter how unlike his own work – the contrast stretched him.
“The curious thing about people’s taste in art is that the opinion one holds, and one’s real attachments, are not necessarily the same thing – and the real attachments become apparent because one finds oneself returning to things that have no place in one’s theoretical scheme of how art should be; one just finds oneself not bored with them, and coming back to them …”
Life Class, under the influence (of Auerbach):
phew. Thanks to Francis Bowyer for making me feel welcome.