The musings of a writer/artist, who was also a carer, on matters cultural and his poor attempts to get published
Ran across your blog when searching for images of the Brangwen Panels...I was drawn to your wrapping paper - I have been looking at old Wedgwood lately - I didn't realize they produced such a range of blues (American) and some are are surprisingly bright, mid 19th C I think. There was also a fashion for something called "drabware" that Wedgwood produced, which is similar to the color of the brown paper, onto which they would then put that electric blue. (Then I found a link to your friend's shop, and they happened to have a bunch of Wedgwood....) Also, the key and ribbon are a nice combination...Your life drawings are interesting, but feel hesitant - I don't feel that either you? or I? am "allowed" maybe? to look at the nudes? Or do they not allow the artist to truly look at them, are they the ones establishing a barrier? Certainly it is not usually a part of everyday life that one is allowed to gaze unabashedly at a stranger's body - And such potential-but-undefined mental energy on both sides must impact what is put on paper. The connection with the man in the plaid shirt is entirely different - he is very, personally, "present" to the viewer... his person emanates from the paper...Look forward to looking at other parts of the blog, Older girl sociologist with chronic headaches in Wash DC area
Hello,welcome aboard! Your comments on the life drawings are very interesting; I've never thought about the relationship between artist and sitter too much before. When you're a student the models just come and go, and anyway you get absorbed into the technical side of drawing, the analysis form and mass and light and shadow. Perhaps there is more going on at a deeper level. I know, as perhaps we all do, that artists do repeatedly use the same models and build up all sorts of relationships with them. Think of Augustus John, or Lucian Freud, or Leon Kossof.