After Michaelangelo's Sibyl

Sketch after Michaelangelo's Study for the Libyan Sibyl
12 x 16 inches, graphite pencil on paper

Last month on my trip to New York I was able to see the original of this drawing in the study room of the Met. The mere 40 minutes I was able to look at the original drawing (and the fact that I was a bit overwhelmed being in the presence of it) made it impossible to do a satisfactory study of it.

So I bought a reproduction at the Met gift shop, and this week I did this study of it. I spent about 8 hours on this.

I am so amazed by the organized matrix of systems that make up a human being. I say "matrix" because every part is interrelated to every other part, like a grid. To put any landmark in the wrong position skews every other landmark in the drawing.

And of course Michaelangelo designs his drawing to illustrate these relationships. Copying his drawing is like watching a chess player think.

For fun I've diagrammed some of the relationships I found:

If I draw lines following the axis of each hand, as if she is balancing rods across the heels of each palm, you can see that these two lines can be repeated all over the body, connecting everything in a system:

Another thing I look for is verticals. When we draw, we tend to put things where we think they are. The twisted position in this drawing makes it even more complicated to capture the gesture, because we tend to want to exaggerate the twist, or "untwist" the form while we draw:

To fight against this habit of untwisting or over-twisting, I drop vertical imaginary plumb lines and keep them in mind for lining up landmarks. Glancing at this image quickly, I never would have guessed that the ear is directly over the top left corner of the pelvis, or that the back contour of the back is almost a perfect vertical.

This is the sketch I did at the Met in front of the original drawing. Although it looks clunky and angular, I used the same method for both drawings. I don't draw any curves, I just keep segmenting the straight lines.

I wanted to see how I did on the fast drawing in the Met, so I colored it red and superimposed it over my longer study. I did pretty well in the fast sketch after all. In fact, I made the same mistake twice, but corrected it in the longer sketch!

You can see how the fast sketch (in red) has the left arm too far over to the left. I did the same thing on the longer sketch, but later realized my mistake and adjusted it back over to the right, fairly far into the drawing.

I think I did that twice because I see the head as positioned between the two hands, so I unconsciously tried to center it between the two hands. In reality, it is much closer to the left hand.

Self Portrait Sketch

9 x 12 inches, graphite pencil on paper

I haven't done a self portrait in about 15 years. That's almost half my lifetime ago. But it was a nice challenging exercise, and the model is very obliging (and cheap), so I'll probably do another one, maybe even within 15 years.

Pewter Pitcher and Grapes Drawing

8 x 10, graphite pencil on paper

earlier block-in stage of the same drawing

My conflict recently is whether to spend my time on exercises and studies, or to try to create finished paintings to the best of my current ability.

The conflict is that working on exercises makes me feel like time is rushing by me while I piddle around and have little to show or sell. But then, painting "finished" pieces always makes me realize how much better I would be if I had spent more time studying drawing, or value, or color, or form as a discrete problems instead of tackling everything at once in a painting.

I have a feeling this is something I will struggle with my whole life.



Thought I would share my latest version of my still-life setup, which has evolved to be somewhat elaborate recently:

I want a more direct, artificial light to fall on my still life so I can see stronger shadows. So I tacked a big piece of white foamcore to hang down from my skylight. The white, general light still falls on my easel, while the the still life is shaded from the skylight, and lit by a little incandescent light on a flexible arm.

I also was struggling to hold up a cardboard viewfinder while I am blocking in the composition. So I set up an extra easel and clamped my viewfinder to it. If I position everything perfectly, I can see my still life setup framed perfectly in the viewfinder, and without turning my head significantly I can also see my easel, and even reach it with my pencil if I am lucky.

It takes a lot of shifting around to get the right position of the viewer, the easel, and my own head, but once it's set up it makes everything so much easier.

Peeled Lemon II

8 x 10 inches, graphite pencil on paper

earlier stage of the same drawing

After seeing all those Dutch paintings this summer I feel strangely tempted to tackle dewy fruit and reflective goblets and glass flutes and heavy satin cloth....

I have cut up and peeled nearly a dozen lemons to get the perfect twisted peel and correct lemon shape for these two drawings. The fruit flies are loving my studio these days.

Peeled Lemon 1

8 x 10 inches, graphite pencil on paper

earlier stage of the same drawing

Inspired by the lemons often present in Dutch still lifes, I decided to try my own. Problem is, the lemon peel dries out after just a day or two, so I haven't gotten as far painting them yet.

Last Day in New York

Today I spent ALL DAY at the Met, it was fantastic!!

First off I had to track down Madam X, and discovered that they have devoted an entire gallery room to Sargent pantings. I was... agog. And the best part is it was nearly empty the whole time I was in there. (Maybe because they are renovating the American Wing so this layout is temporary, and also it is up and down stairs and rather hard to find and The Sargent Room is at the very end of rooms and rooms of American art. Anyway, I just felt I'd gone to heaven.)

What you can't see here are some exquisite landscapes on a wall to the right, including this incredible little painting of an Alpine Pool. And high up on another wall is The Wyndham Sisters. And truly, when you look at that painting, you can just about hear their silk gowns rustling on the white brocade couch.

Sketch after Velazquez' Juan de Pareja
approx. 6 x 6 inches, pencil on paper

This one is for my friend Shawn Kenney, who told me Velazquez' Juan de Pareja is one of his favorite paintings. So thanks to him mentioning that I sought it out and decided to do a little sketch.

Next up on my Met to-do list was to spend some time in the new Greek and Roman sculpture gallery. It has huge glass ceilings and a fountain making bubbling-water noises and as soon as you enter you start to breathe more deeply and slow down and really look. And there's lots to look at.

Sketch from an Aphrodite in Marble
Roman copy of a Greek orginal
Pencil on paper, approx 9 x 5 inches

Finally, I took another look at the Age of Rembrandt exhibit (see highlights from the exhibit here). This was actually my third visit to the Met this week, so I had already seen most the exhibit.

The exhibit was bigger than the Portland exhibit I went to last month, so it was nice to see a LOT of paintings. But, being the Met, it was really crowded. I would have loved to spend some time drawing Aristotle's Sleeves, but the place was just too mobbed.

So today was our last day in New York. I've added more pictures to my NY Picasa Album. Some are arty "photographs", some are just snapshots taken with the crappy camera phone. (The arty-est one is the blue billowing tarp over a dumpster, you have to agree.)

Next it's home and back to the studio. Stay tuned!!