14 January 2013: dear London, on working in the studio … day 8

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:

Day 8 tree painting detail

Day 8 tree painting detail

Day 8 studio drawing with tree

Day 8 studio drawing with tree

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:

Day 8 Auerbach study in front of painting

Day 8 Auerbach study in front of painting

Day 8 Auerbach study in front of EOW nude - my felt tip set needs yellow!

Day 8 Auerbach study in front of EOW nude – my felt tip set needs yellow!

Day 8 Auerbach study in front of Julia charcoal

Day 8 Auerbach study in front of Julia charcoal

Day 8 Auerbach study - in front of EOW in chair

Day 8 Auerbach study – in front of EOW in chair

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 …”

Quite.

Life Class, under the influence (of Auerbach):

Day 8 RA School Life Class

Day 8 RA School Life Class

Day 8 RA School Life Class

Day 8 RA School Life Class

IMG_2595

Day 8 RA School Life Class

Day 8 RA School Life Class

Day 8 RA School Life Class

Day 8 RA School Life Class

phew. Thanks to Francis Bowyer for making me feel welcome.

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