Visual Artists

[brainpanhandler]

[Harvey]

Mmmm, thanks.

[Harvey]

Sound paintings, pioneered by Welsh singer Margaret Watts-Hughes using an invention of her own devising, the eidophone.

More here: https://publicdomainreview.org/essay/pi ... -eidophone

[brainpanhandler]

Dubya self portrait

If I cover half of his face, the left side from the viewer's perspective, is an angry sort of disgust and if I cover the other half, the right side appears blank and expressionless.

It's not awful. I could almost believe the asymmetry is artful.

[Harvey]

Which brings us full circle very neatly.

[Harvey]

What I feel looking at that self portrait is that the painter is representing someone haughtily projecting contempt, perhaps through sadness. "I'm sad you haven't seen what I've seen. You couldn't possibly understand."

Which could as easily be read as "I'm saddened you don't understand my contempt." But author and subject are the same person and for me at least, his left (our right) side seems more stunned or surprised and bewildered than it does blank. The self bewildered by the urgencies and imperatives of its own self, represented by the pitiless, unconscious and devouring gaze of his right (our left) side.



In any case, altogether more honest and unattractive than this bullshit:

[Elvis]

Aside from some painting lessons around age 10, I'm untrained in drawing and painting, and never pursued it with any resolve. But I occasionally get the urge.

I recently found this among some papers I was going through...from 20 years ago maybe?

three deer 788.jpg

I just guessed what running deer look like, feel free to critique. Rendered with an ancient set of "Nupastel Color Sticks" that belonged to my father.

Anyway, here's a sketch of a friend, also from some years ago:

RevDupas.jpg

[Harvey]

It has my vote, the dear deer. I like it.

[brainpanhandler]

Here's my latest work with the final element in place, the willow frame which I finished yesterday. Very pleased with it.

What I find interesting about this piece is that it defies my attempts to explain it. The elements charge my imagination but refuse to coalesce into meaning. I think that's actually very difficult to do. Or, maybe I just don't get it. What size is it?

[Harvey]

In the frame it's approx 100 cm x 75 cm.

[MacCruiskeen]

[Harvey]

You just can't beat a bit of Durer. (Or Da Vinci) The relationships between the subjects in his drawings are so very interesting aren't they? I suspect there's much still to be revealed in his work. In this Adam and Eve for instance we see the beginning of the end of the moment of grace, when all life is at peace with itself and the couple seem almost appendages of the trees, themselves fruits of the forest. I love the master of the ramparts up at the top right.

Is that your picture at the bottom Mac? I love the expression of frustration (which mirrors my own) at the awkwardness of hands. They're a right bugger to draw!

[Harvey]

Ah, it's Python. I've never seen the image before, it is brilliant.

[MacCruiskeen]

Ah, it's Python. I've never seen the image before, it is brilliant.

Yeah, it's by the young Terry Gilliam. I think it's in the Papperbok, or it might be the Big Red Book, I forget which. It really made me laugh the first time I saw it (as a teenager), not least because I too found hands a right bugger to draw.

My favourite Madonna and Child is Matthias Grünewald's luminous Stuppacher Madonna (1519):


https://de.wikipedia.org/wiki/Stuppacher_Madonna

It's hard to do justice to the colours. The whole thing just glows. Here's another reproduction:



I love everything about that painting, including the hands.

[Harvey]

^It's almost Preraphaelite isn't it? The Isenheim Altarpiece is a particular favourite of mine.