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Showing posts with label sketches. Show all posts
Showing posts with label sketches. Show all posts

Thursday, September 17, 2015

Sketches and Drawings from Europe

     I had an amazing adventure this summer with my family traveling around Europe at the end of July and beginning of August.  We traveled for almost 4 weeks and our trip included: Florence (with overnight trips to Rome and Venice), Paris, and Marlow, England.  We rented apartments in each city, which gave us a great 'homebase' with a kitchen and more room for everyone. The weather was drastically different in each place, so we packed for the heat (in Italy, the hottest heat wave in 130 years) to cooler, almost autumn-like weather in England. My wife and I both brought painting gear, and we managed to get some work done. I drew in my sketch book, and had a half box French easel with an umbrella. For the paintings, I worked on Arches oil paper with a small panel of gatorboard to tape the paper to. I brought brushes and palette knives, and bought the paint and solvents when I first arrived in Florence. Some of them smeared in transport, so I had to repaint some areas when I got back to my studio. Here are some of the drawings and oil sketches I did while I was there:

near the Duomo, Florence 8.5" x 11"graphite
Florence courtyard, 8.5" x 11"graphite
Ponte alle Grazie, oil and graphite on paper, 9"x12"
Along the Arno, oil on paper 9" x 12"
Florence courtyard, oil and graphite on paper 9" x 12"
Jasper on the train to Venice, graphite 8.5" x 11"

Fountain in Florence, oil and graphite on paper 9" x 12"
Rome, graphite on paper 8.5" x 11"
Paris studio, oil and graphite on paper 9" x 12"
Paris studio II, oil and graphite on paper 9" x 12"
Paris studio III, oil and graphite on paper 9" x 12"
Parisian rooftops, graphite on paper 8.5" x 11"
Marlow hedge, oil on paper 9" x 12"
Oak in Marlow, graphite on paper 8.5" x 11"

Friday, August 16, 2013

Sketching on the road

     Since I've been traveling a lot this summer, I've had some big gaps in my studio time. A few larger paintings still need to be finished up, and some new painting ideas that need to be worked out. My family and I went on a long trip back to the northeast (Philadelphia, Brooklyn, and Long Island), so what I usually do to keep my hand and eye moving is some sustained sketchbook drawing. I usually try to devote at least 30 minutes a day to these, sometimes longer. All are in pencil and the size is about 8" x 11". It's a nice way for me to document a trip and also keeps me engaged with the creation process.


Saturday, September 4, 2010

Sketchbook from England

I just got back from a two week trip to England, where my brother-in-law and his family live. We spent one week with them, outside of London, and one week in Cornwall, on a working farm. Here are some images I made in my sketchbook from our time in Cornwall:


This one's a watercolor, which is a medium I use from time to time. I have mixed feelings about working in watercolor. I find it very intriguing, and like the look and feel of it, but it's hard as hell and almost the anti-thesis of oil paint. The working methods are completely different, forcing you to employ the white of the paper as your light, and is obviously transparent and fluid, versus the opacity and density of oil paint. The thing I like about it, is how marks can be made 'unguided', that is, by letting the paint bleed into the wetness of the paper. There is a certain loss of control to this that can yield some great results. I love looking at the great watercolors of Turner, Sargent, and Homer, which have a Zen-like immediacy to them.



This one was done overlooking a pasture at dusk. The clouds were blocking the sun from time to time, giving me a small window of time to look at the scene without being totally blinded by the setting sun. The cattle were wandering to and fro, dotting the vast expanses of green fields with their presence. Looking at these now, I realize how much I need to hold on to that sense of immediacy with the paint. At times, my oil paintings can 'tighten up': I need to retain that freshness and 'roving eye' that these sketches and pencil drawings have.



Here's a couple of pencil drawings depicting the view in back of our cottage. (Sorry about the quality of the photos, the drawings are quite light and hard to photograph.)


This last drawing was done at Whitesand beach, along the southern coast of Cornwall. There's some amazing rock formations along this stretch, with dramatic cliffs, caves, and tide pools. It reminded me of the Maine coast, as well as, Big Sur in California and the Oregon coast. It's the kind of place I could paint for the rest of my life and never get bored. Cornwall has some stunning landscapes, and I can see why artists have flocked there over the years. When I went to St. Ives, I visited the Tate, which has a wonderful location overlooking the beach. I saw some great work there, and enjoyed learning about the history of the area. It was a real haven for nature-based abstraction during the post war era, and I got to familiarize myself with the artists who lived and worked there. In my next post, I'm going to focus on some of the treasures I found at the National Gallery in London....cheers!

For more photos and commentary, check out my wife's blog entries about England!