Built in 1755.
I was fortunate to approach this scene in the spring when the new greens offer such contrast with the old house.
Thanks to Emmett and Bobby Winborne who allowed me to paint their birthplace.
This painting grew from a sketch, a study and a rendered drawing. I felt like a gardener before spring, transplanting little seedlings from pot to pot as I drew, measured, enlarged, and painted. Each time, I trusted the image to materials I made myself.
It is satisfying to brew one’s own ink, cut panels, dissolve rabbit-skin glue and dust for gesso. Taking handmade materials outdoors makes one look more acutely. One of my teachers, Nathan Bertling, used to tell me, “If you love your paper, you’ll love your drawing.” He meant that time spent in preparation makes for good execution.
Much is made these days of “plein air” painting, and often I’m asked, “Did you do that all plein air?” To which I say “Harumph. I was working before I went outside.”
Below is the 24 x 36″ large study I did for Harmony in Green, an early 20th-century auto garage in Edenton. It will hang my solo show there on Dec 4.
In the Renaissance, most preparatory drawings for paintings were done in chalk. This is a great way to indicate quickly where things go in the composition Such drawings look like this one, which took about twenty minutes to do. Chalk is smudgy for shadows and holds an edge for sharp lines; hence, one can capture a lot of information with it.
But to test out large blocks of light and shadow, one turns to ink. Since we live a century into the era of comics and posters, it’s nothing for us to look at a poster and register an image. Most poster- or comic-style drawing, though, is a very efficient shorthand, which purposely omits reference to the third dimension. If you were busy perceiving depth in a billboard, you couldn’t read that billboard while driving. In short, what we spend in depth perception, we gain in information. Non-realistic pictures are worth a thousand words, as marketers the world over agree.
Realism, though, is priceless. Witness this gem from Luca Cambiaso (fl. 1550’s):
Yes, this is realism, albeit at its most stripped-down. No one doesn’t like these Renaissance robots. Just the act of breaking these abstract figures up into front (lit) planes and side (shadow) planes gives them life. This is simplicity: a little doing a lot can make for a monumental effect. If you remember Genesis 1–or any other creation myth, for that matter–you have already noticed that life will not go where there is no form.
So here’s the same treatment applied to a 24 x 36″ study of the building I’ve been working on. A little doing a lot over two square yards. The ink is walnut ink made from the bounty of North Carolina, and the pens used in the drawing are reed pens, just as Cambiaso used.
First, I corrected the date given for my show in Edenton next month. It is now to open on Thursday December 4th. The time remains 5:30pm. The volunteers who run the Chowan Arts Council Gallery didn’t want the show to conflict with the lighting of the town Christmas tree.
Second–and as promised–another look at Bunch’s garage, which greets entrants into the town. Last year I made the quick sketch of it in China ink, paying attention almost entirely to the shadows cast by the molding. The building sports a certain posture despite its age, so I returned to the spot, this time to study the texture of the corrugated sheet-metal siding:
The rhythm of verticals in the building’s fabric makes a strong contrast to the contorted oak forms behind. I chose a prepared paper to catch the sense of atmosphere that nourishes the trees and ages the building, because, for the time being, the structure’s age contributes to its dignity. I also abandoned the brush, intending to suggest brittleness with the use of goose and steel pens.
Making a drawing out of a million tiny lines demands an upped tempo and a light touch at once. It asks both draftsman and viewer to see with two faculties that our historical moment hates: aggression and restraint.
The Windsor Boutique Hotel at 36 Broadway in downtown Asheville is presenting me along with two other painters in its next “Art at the Windsor” series. In addition to art in the lobby, there are three floors of realist paintings as well as a few abstracts.
Kudos to the Windsor for assembling a group of a dozen or so realist painters. Precious few galleries show such a belief in art that depicts actual things.
Check out the hotel’s teaser here: http://www.windsorasheville.com/blog/
The painting above will be there, as well as some that are not featured on this site; for lovers of fine drawings, a large-format crispy autumn scene with ten botanically accurate tree species and a three-hundred yard depth of field, executed in walnut ink without brushes on a frosty November morning. Yum.
Oh, and the chocolates at these functions are swell, too.