Reading about Art

In a recent newsletter, Robert Genn commented that he was reading Steve Martin's novel "An Object of Beauty" about dealings in the art world of upscale collectors. Then he added that he- and most artists- don't usually read fiction. The clickbacks now show that lots of artists *do* read fiction and many read about art. I've got 238 pages into "Fall of Giants" by Ken Follet and I'm really enjoying it. I might even end up more knowledgeable about the whole 20th century. Certainly I already know more about coal mining than I did before. However, before that, I finished "The Forest Lover" by Susan Vreeland. I've enjoyed all of Vreeland's books - my favourite is probably "Life Studies", her book of short stories and my favourite novel is"Luncheon of the Boating Party" because it gives such a complete picture of the creation of this painting. However, I had put off reading about Emily Carr as I wasn't sure how I would react to a fictionalized account. I'd read Emily Carr's journals, heard about her and been in children's art classes in the old Vancouver Art Gallery where we were on the floor under paintings by Emily Carr, Lawren Harris and others. She influenced how I saw the West Coast. But, Susan Vreeland did capture her character very well and the descriptions of her trips to First Nation's lands were very well done as was the inner struggle with expressing herself. I could understand the need to invent a character like Claude for the sake of the story - but I really think, given the conventions and morals of the times, that any relationship between a "Claude" and Emily would never have happened. Still, it was worth reading and thinking about the contribution that Emily Carr made towards recognition for female artists. Now I'm looking forward to Vreeland's new novel coming out this January. ....painting here is "The White Gown" which is Iva in a wedding dress - and has nothing to do with reading.

Greetings!

Down to the count-down to Christmas. I'm interested in the response to cards this year. For the past while, I have been having photocopies made of the photograph of a painting. Then I've glued that down onto a card, written on the inside, identified the painting on the back - and so on. This year I used the computer program to select a card design (plain- all photo) and took an I-photo image of my painting. Then I selected the writing for inside and ordered them from Apple. They came all nicely packaged. I felt that the quality of paint shows up better. Slightly more money but a lot less work. The drawback was that the *whole* painting wouldn't fit the card shape and there was nothing to be done except show part of it. So far, people are quite enthusiastic about the card.I painted this picture because I liked the idea of two kinds of lanterns.I think we need all the light possible in a winter-dark season. The main lantern is an actual miner's lantern that my Dad used in his mining career. Later, he wired it so it could be used with a light bulb. I used "artistic license" to not show the cord. I'm wondering how it would look with a larger painting ("Lanterns" is only 10" x 20") as to showing brushwork and so on. I guess I'll have to wait and see about that... So... Happy Holidays to all!

Drawing Marathon

Behind in blogs again- one marathon was getting cards out. Then, this past weekend, I took part in a drawing marathon. I didn't do the whole 18 hours, but I did do 6. It was fun - and I certainly would take part again. Since I am not a really fast painter, I worked with coloured conte' crayons -a chalk pastel of medium softness. One session was a nude in 30-minute poses, after some warm-up poses. Another was a ballerina in a two-hour pose - again- after some warm-up poses. We had a showing with a reception at the end of the weekend and I thought I'd take my two-hour drawing. Upon reflection, I decided it was too pastel and too static and a thirty-minute pose was much more dynamic - so- here is my almost-reclining nude.

Change of Medium

I was just reading where Marc Chagall said "I work in whatever medium likes me at the moment". I certainly know that I like to switch around at times. Right now, at Wednesday night Life Drawing, I'm working in pencil crayons in a sketchbook. On Amazon, there was an offer for "Multicultural Crayons", "Colors of my Friends" - so- how could I resist? I ordered a box and added it to my stash. It has a nice variety of browns, mostly and gives some extra choice - but I still took the big Dick Blick collection. The crayons are nice but not as waxy and blendable as Dick Blick and Prismacolour. For now, then, I'm enjoying the change to coloured pencils. Each medium gives a different feel to the drawings. Here they are - and a sample drawing. The "15" marked on the page means it ws a 15-minute pose.

Small, Smaller and Smallest

The painting show of small size works opens this coming Tuesday - the 16th- at the Federation Gallery on Granville Island. It will be a good show as there will be lots of pieces in it and prices are very reasonable since the paintings are small. It makes a great opportunity to buy a one-of-a-kind Christmas gift -- and you don't have to worry about whether it will fit the recipient. I have a 12" x 6" painting of a cat in this show. I've called it "Bliss". I don't think any creature can get a more blissful expression than a cat! If you want to check out the show, the images should be posted on the Federation of Canadian Artists website once the show opens. Avoid the crowds at the malls and visit the Federation Gallery----

Not 68.9 Million

I read where Modigliani's seated nude has gone for 68.9 million- a record for his work. I wonder where it went. Let us at least hope it will be in a museum where people can see it. I read a wonderful short story by Susan Vreeland in her collection, "Life Studies", that is a fictionalized account of Modigiliani's daughter. "In the Absence of Memory" is well worth reading. Too bad that there is such a discrepancy with works by dead artists selling for huge sums while living artists are often making few sales at all. I think that there are lots of good artists around these days, with works at reasonable prices. But maybe that is the problem? I read where a fellow was ready to write a cheque for a painting, then when he found it was $2,000 and not $20,000, he didn't want it! I guess he just wanted to be a big spender- but if you like something, why not have it? If you enjoy it and 10 years later, it is worth more- well, good for all. If not, then you've enjoyed it for ten years and will probably still be enjoying it - so who cares what artificial price is on it? In the meantime, I'm carrying on with my own "Life Studies". This one is a coloured conte' drawing. She is standing, not seated - but I'd probably consider 68.9 *dollars*, rather than 68.9 million!

practical application-

Today I was going to spend the morning painting on a very large painting (well. 30" by 48")- but, instead, found myself working on my cat problems. My daughter's two cats are currently resident and have been menaced by a large prowling cat. CatStop electronic devices in the garden are out there- but have to be turned off if Digby and Isabella are let out. They *love* the garden but are terrified of this other cat that has attacked them. I take a water-gun out when I'm gardening and have succeeded in my shots, some of the time. Other times I end up chasing the cat and amusing the neighbours. Desperation leads to desperate measures - so now I have made up a poster and will print it out and post it up. -Oh well, art put to practical purposes.