Landscape with Posters (Part 2)

This is continued from the previous post, Landscape with Posters (1912). Seeing the finished work can be overwhelming, and I think that’s part of its appeal. You can get lost in it. So while making a copy, I was pleasantly surprised to see the picture open up to me. In order to find a starting…

Landscape with Posters (1912)

This is a post relating to the book, The Picasso Papers, by Rosalind E. Krauss. Please see my two previous posts: Violin (1912) and All signs lead to Picasso. Here are some notes on Landscape with Posters (1912). When looking at any scene, all the lines are at a variety of angles, but Picasso allows himself…

Violin (1912)

The Picasso Papers, by Rosalind E. Krauss. Continued from All Signs Lead to Picasso. In her first essay, “Circulation of Signs,”Krauss offers responses to individual works. So, likewise, I’ve decided to offer my own thoughts on Picasso’s Violin (1912), along with a couple of Krauss’ ideas which I found technically useful.  The work as a…

Beginnings

Sorry for such a long break. Eh… life. I’ve been pulling some things out of the works-in-progress pile. While on “break,” I found myself doodling or doing some “automatic drawing” (above). It reminded me of something I drew in 2011 (below), which I really like but have not been able to use. It just seems like…

Sirens

I am currently reading Picasso: The Early Years (1892-1906), by Marilyn McCully. I haven’t had time to dive into it yet. Eh, other creative endeavors, life, etc. In the mean time, I’ll leave you with another response to Picasso. —- I was reading The Ultimate Picasso, by Brigitte Leal, et. al. and I had just…

First Impressions of Picasso

The first works by Picasso I considered were from his Cubist paintings, but the only response I could muster was one of intrigue accompanied by very few words. The first works which elicited some opinion of what I was seeing were paintings from his Blue Period, which was much more straightforward and obvious. It is…

Line and Essence

Lately, I’ve been looking at some really big ideas. I’d like to focus in on the practice of drawing again, specifically, the work that lines do. I noted an “airiness” in my “Zen drawings” in my post, “The Paradox of Zen Drawing,” a characteristic not shared by all line drawings. How did I achieve this “airiness,…

The Paradox of Zen Drawing

I want to continue a couple of threads I left hanging in my last post,  Zen Seeing, Zen Drawing. (Anything in blockquotes is from that post.)  Franck anticipated that “Fundamentalist Zenists may… question [Zen Drawing’s] validity as Zen practice.” (p. 25) I glossed over this because Franck doesn’t address this question directly. He only continues to…

Never Say Never

We have over 7 billion people in this world, and I have honestly never seen a true doppelganger. You know how people compare photos of two or more celebrities and call them “twinsies?” Maybe I’m guilty of confusing one for another in a movie in which only one appears, but looking at photos side by…

Study of a Mourning Woman (Part 2)

This is continued from Study of a Mourning Woman (Part 1). In that post, I made comparisons between my experiences with drawing Durer’s L’Annonciation and this drawing, by Michelangelo. I also made notes on why I think it’s a good picture, which in a word is its presence and which is achieved by creating the…

Study of a Mourning Woman (Part 1)

Michelangelo vs Durer What makes this a great drawing isn’t in how delicate the lines are. Unlike Durer, you don’t see how pretty a single line flows to and from another. You see bigger “moves,” like the posture of the body and the contrast of the lighter areas with the darker areas, depicting a source…

L’Annonciation

Ooh, this was a doozy of a drawing. I was half way done before I realized I didn’t like what I was doing, so I started again. I’m learning that I developed a heavy hand from line drawings I’ve done in the past. My hand wants to correct mistakes by going over the mistaken line…