WEDNESDAY 8th OCTOBER, 2014: INTERPRETATIVE LIFE CLASS STUDENTS’ ARTWORK

nO.2 of 9 ALL-DAY LIFE CLASSES IN THE LONDON SKETCH CLUB IN DILKE STREET

JONATHAN ELLIS – FIGURING IT OUT

THIS INTERPRETATIVE DAY INVOLVED A MORNING WORKING DIRECTLY FROM RICHARD, THE MODEL, USING DRAWING AS OUR MEANS OF INVESTIGATION. THE AFTERNOON’S PAINTING EXERCISES WERE TRANSPOSED FROM THE MORNING’S STUDIES RATHER THAN FROM THE MODEL, ALLOWING A CREATIVE APPROACH TO DEVELOP. WE USED RICHARD DIEBENKORN as a guide.

Diebenkorn – from ‘notes to myself on beginning a painting’: Use and respond to the initial fresh qualities but consider them absolutely expendable.  

  1. Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion.
  2. The pretty, initial position which falls short of completeness is not to be valued – except as a stimulus for further moves

 The three intrepid artists started with pencil line – foreground against background, interior/exterior, to try and determine the shape of their figure composition, then used charcoal more formally on a new study, with straight lines and arcs, while the model rested. Then different viewpoints were tackled, looking at how the figure worked with and against the composition.

Red and blue oil pastels were used to activate the surface of a drawing ….

Then Iona, Jacquie and Tats worked on painting from memory as Jane Livingston worked out (in The Art of Richard Diebenkorn) that

“During his figurative period, Diebenkorn forged new working methods and entered new conceptual territory … For one thing, he almost never worked directly from drawings or studies in composing paintings … In his process of invention, drawing and painting were almost always parallel endeavors. Although it was not unusual for drawings to suggest ideas for paintings, major alterations usually occurred in the process of transposition. One rarely finds a drawing relating so literally to a painting that the two works are causally related … It is … likely that Diebenkorn remembered the drawings, and used them as catalysts for the far more ambitious figure paintings.”

The details exhibit the freshness of painterly ideas …

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