Blackpaint 46


Life Drawing

My class today, and as usual quick poses – 1 minute, 2 minute and so on up to 6.  Then small sketches of pose and a long drawing – 90 mins.  As usual, I reached a point where I started to mess up, so stopped and started a new one.  Ended up with two reasonable, but not spectacular drawings that stayed at the school for future critiquing, and I brought the quick poses home (see below).

I started life drawing because, if I’m honest, I think it’s “proper”, in some way.  It’s craft.  If you can do life drawing, you’re somehow entitled to do abstract stuff.  Total bollocks of course, but it echoes Robert Hughes’ assertions about Basquiat and Schnabel in particular, and US art schools in the 80s in general, that they had turned out a generation at least who couldn’t draw properly – and that, somehow, that meant they couldn’t do “proper” abstract art.  This notion has recently popped up in William Boyd’s article on Rothko in the Guardian (see Blackpaint 13); he extends it to Rothko, Pollock and Kline. 

Anyway, having started it, it has become a pleasure in itself, sort of separate from the stuff I paint and exhibit – but it has probably rubbed off, maybe in the use of charcoal or the sort of forms which emerge (that word again) in my canvases – although, to be sure, not the latest ones.

Listening to Mahler’s 5th, the “Death in Venice” bit, where Aschenbach has found an excuse not to leave Venice and is heading joyfully back to his hotel in a gondola.

Blackpaint

22.01.10

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