Florence Italy Figure Art

Cari Amici (Dear Friends),
I have not decided whether it is because I have no shame or whether it is just because I am a horrible liar that I am about to share with you what I am. You may remember my blog post on 15 January 2012 about my struggles to learn how to figure paint here in Florence, Italy. I often feel like a bit of a fraud when kind people remark that creating figure art comes so natural to me. It does not. I work and work and work at it. No lie.

Despite the fact that after my first day of frustration and the next day Maestro John Angel gave me a compliment in front of the whole class, I am still trying to overcome my first bad day on this painting of Federica. John Angel does watch his students paint; even if he is standing far enough away that you think he is not looking at what you are doing. Of course, I also get lost in my own brain when I am drawing and am not much aware of my surroundings.

At some point, he recommended that the class do as I was doing – cross referencing relationships using triangles. I have always felt that the more relationships I make (or notice) between specific points, the more my drawing will be successful. In this case, I had used my knitting needle to determine the position of the hand based on the line formed by a point in the shoulder and the belly button… or something similar that escapes my memory now.

I have failed somehow to get the gesture I once was happy with and I have yet to return to that first drawing that I erased during my frustration spell. Still, with refinement of the shapes I am designing, I hope to “scootch” my way back to something depicting emotion.

So, are you ready? Scary gets less so, I hope…

Image 1: really horrifying … no gesture, bad proportions. The only emotion I feel when looking at this is embarrassment.

Image 2: I am attempting to get the face, but it is still too narrow and poorly done. Her belly is way too round, and … need I go on?

Image 3: Frustrated with my own work, I chose to move on through the process. Here I have left behind the sketching in raw umber in favor of adding the light tones using Titanium White and Ivory Black. I have started the Big Form Modeling, the beginning of the process of creating the illusion of three dimensions.

Image 4: More shape refining, especially in the face, is starting to occur. My figure is looking better, but is still off on too many proportions.

Image 5: Another reason that I am here is to learn to be a painter. As John Angel has been lecturing us, poets use words, musicians use notes, and painters are in love with shapes. But also, we love the quality of PAINT! My tendency is to use too little. Ironic since it was originally the “squishability” factor of oil paint that led me to want to play with clay.

Image 6: By this time, Frederica had cut her hair into a shorter do that is quite attractive. In my attempt to refine the shapes in the face and still use this particular style of a grisaille (white and black) painting with a brown shadow tone, I have added yellow ochre to my raw umber to give some opacity to the browns.

Image 7: Still, so many problems with my shapes! However, I am starting to feel that I am beginning to capture her emotion of at least boredom. Sometimes the model looks teary eyed. She said this happens when her contact lenses start to bother her, but I actually enjoy the sad and pensive expression this gives her. It suits the slumped over posture as well, do you not agree?

And since I prefer not to end this session with any ugliness, here is one of the more subtle skies over my beloved Florence, Italy. Some days, I happened to walk out of the studio at just the most beautiful hour! Enjoy.

Designing the Figure Art

Cari Amici (Dear Friends),
I spend half of my weekdays working with an art model named Federica. She is really cute and a trooper to model in the winter time. Like my apartment here in Florence, Italy, sometimes the old doors and windows do not fully CLOSE! The studio now has a piece of glass missing as someone tried to close an unreachable window all the way. Using a ladder and climbing as high as I could, I used a stick today to “secure” a piece of cardboard over part of the window. It was a horrible fix (the cardboard I found was not large enough), but as Federica and I agreed, “Meglio di niente” (better than nothing).

I include here some of my daily snapshots from some time ago to show you a bit of the process. I am painting a grisaille, but instead of using black and white, I am painting with Titanium White (Michael Harding brand) and Rembrandt’s Van Dyke Brown. It makes a warmer gray. I am painting on an primed linen (I think) canvas with a loose gray campitura (starting background color), tacked onto 80 x 40 cm stretcher bars.

Image 1: Blocking-in the mass of the figure, trying to capture the gesture in the form.

Image 2: I have now drawn in my contour lines of the figure’s main parts, the background props, and have even designed my shadow shapes and colored them in (except for the face). The face took more time because of the more intricate shapes that I needed to design. I say design because the goal is not to “copy” the live model in front of me, but to use her as an inspiration or reference for my own creation.

Image 3: Now the face. I am amused by this because this face reminds me of my cousin Carrie a bit. And NOT the model. We all tend to draw ourselves [family being a part of the same face(s) that we see most often].

Image 4: Now I painted in opaque paint two tones for each background segment… designing the darks and lights of the background (wall); the tall black box [box in light and box in shadow], and the stool (here not differentiated so well yet: the stool in light and the stool in shadow).

Image 5: I love this image! I added an averaged light tone to the figure in light. Now you may truly understand how my figure is really only a pattern of abstracted shapes! Federica had just gotten her hair cut into a new do – and it is really cool on her!

Image 6: Close-up shot of the abstract design.

Image 7: Here you can see that I have started creating the “Big Form Modeling” to change my 2-tone design into something that begins to look three-dimensional. I have always been a “butt and legs man” so I tend to start with the pelvis and work my way down.

Stay tuned . . .

Universal Through the Personal Artist Interview

Cari Amici (Dear Friends),

Cool - this interview by Andrew Cahner on the site “Artist-Perspective.com” in California just went online: http://www.artist-perspectives.com/interviews/kelly-borsheim.htm

Abstraction of the Real Figure

Cari Amici (Dear Friends),
It is sometimes a strange thing to understand -- this getting to realism in art through abstraction. The idea basically is that the artist is not just copying from a model. She is creating a design based on what she sees in the model. I want to capture a gesture, for gesture is a physical expression of a thought or idea.

The following oil painting “Neela” is one of my favorites of my early paintings from life. I cannot believe it is still in my collection, but then I usually keep it in my home for my own enjoyment. This is an older work and therefore quite affordable.

Neela, the model, was sitting and leaning forward a bit as she read a book during her pose time. I often enjoy working on the extreme edges of the model room, as well as working in the shadows with backlighting. And I love backs. You may see here that even if you can recognize this image as a woman’s back, it is really made up of abstract shapes of light and dark. The triangles of the shoulder blades give you an idea of symmetry in the anatomy, yet are not exact repeats of form. You may enjoy the circular shapes, the pointier ones, and hopefully the long swirling dark shape that widens as it gets closer to its bottom and denotes most of the woman’s spine.

The cool thing about this process is that one can achieve a believable human figure that does not look like a photograph. I hope that you enjoy “Neela.”

A Better Artist

Cari Amici (Dear Friends),

I have been struggling this week as I try to get adjusted to my new life here in Florence, Italy. I have returned to the Angel Academy of Art to finish what I started years ago -- learning to improve my understanding of painting, especially the chemistry of painting. I left three years ago because -- and I am embarrassed to admit this -- another student was making me very uncomfortable in school and I could not get it to stop. I decided to leave the school, postponing my own education until this person had finished and gone. It was not difficult since I needed to continue to grow my own art career anyway.

My work moved in a slightly different direction in this period and of course, when I was back in Texas, I focused on my stone and bronze sculpture. I recently told Maestro John Angel and Jered Woznicki (my instructors at Angel) that I was nervous about starting up again because -- to my shame -- I had not even done a life drawing for over a year and a half (except for one 3-hour session with a friend).

Sometimes it is difficult to learn something when you think you already know something about it.

Being aware of this, as well as having watched other older students come in and flounder with their egos a bit, I really wanted to do as Maestro John Angel suggested, “Relax and it will come.” I wanted to learn the process thoroughly and it was important to “get it” early on so that I could “own” it and then be free to learn about what comes next. This was my mindset as I began to paint the figure in front of me. We were to use a medium-sized house paintbrush and wash in a solid shape on our canvases that matched the gesture of the model. The idea was to think in terms of FORM and MASS vs. outlines.

Then we were to add the construct over our massed-in shape . . . simple lines that placed the parts of the figure (head, limbs, etc.) where they would ultimately go, without actually drawing those parts. This takes time because it is the foundation of the entire painting. It is not enough to have the proportions correct. One must find the energy in the piece at this early stage. Otherwise, no matter how technically proficient the painting is rendered, it will be dull.

Once you are happy with this, start to articulate those construct lines. This means that you will take a smaller brush and create the outer lines of the abstract shapes that will become the figure. For example, the leg has specific edges that show off various muscles and joints. These edges will all have their own slopes and lengths and will relate to all the other parts in a particular way. Once the articulation is done to satisfaction, the artist can then design the shadow shapes (vs. light shapes). This is the start of the tonal work that will define the masses.

I hope this makes sense. Anyway, I do not usually work quickly. I am horrible at measuring things since I have a sort of impatience about being that tight … or maybe organized. Try as I might, I rarely measure the same thing twice and arrive at the same number. (Is that not related to the famous quote about the “definition of insanity”?)

So, I was VERY surprised when I found myself happy with my proportions on the canvas! I could hardly believe my luck! I checked and cross-checked, comparing various widths and heights, even diagonals (since I see better in triangles), trying desperately to find a relationship between shapes that did not match those I saw in the model. I really wanted to make sure that I did each stage SEPARATELY and that I understood the process that I came here to learn. And I felt that I was doing things well. So, what was the problem?

I did not believe that I could do that. But then, during the model break, I looked at the works of the other students who had more experience at this than I do. And I was further along the process than they were. I have never been particularly competitive (except with myself) and thus, I do not look at the work of others in order to decide how my work compares. But in this case, I knew that some things take time and we work within a system. The teachers know how to pace the class, despite some students working at different speeds. I was too far ahead and I lost confidence.

When Maestro returned to the room, I asked him if it was too soon for me to be drawing the shadow shapes. He said, “Yes, you have done it wrong.” I wanted to argue, “But you have not even looked at my canvas and now you are on the other side of the studio!” But I rarely argue something if I know that I do not have all of the information. When I am drawing or creating in any medium, I am not often aware of what others are doing and where they are looking. How did I know whether or not he saw the work I was doing earlier?

Frustrated, I went back to my canvas and wiped out all of my lines, returning to the simple mass I had painted in the beginning. I thought that was the fastest way to let go of my ego and learn the process the right way. In hindsight, I wish that I had waited on that. Once the model was back in position, Maestro came over to my easel and described each step again. And I kid you not, I believed in every ounce of my entire body that I had done exactly as he demonstrated! Even the measurement points that he said I must consider were absolutely the same ones that I HAD considered and measured! Now, I really felt frustrated because he kept saying that I had done it wrong because no one gets it right on the first try. But for the life of me, I still had no clue where I took the wrong turn.

After class and close to tears (I HATE that about myself since it makes me look so weak when I long ago discovered that I must release that energy somehow and prefer it be in a peaceful manner), I again asked Maestro to tell me what I had done wrong. So then he said, “Constructs. You have never been good at making the constructs. No one gets that right on the first try.”

That night at home, a friend called to see how I was doing in school. I must admit that I got all worked up again as I relived my frustration. He cut me off with his hearty laugh. I was not amused. What’s he on about? He said, “You . . . struggle? If anyone would get it right the first time, it would be you!”

Hmmm. Now I knew that Maestro was right (sorry, Si). I had done it all wrong, but I would need to figure it out on my own. That meant that I needed to DO more … more constructs, in this case. In that instant, I had a flashback of the time that my friend Vasily Fedorouk yelled at me in front of our stone carving students. He apologized to me in private that night as we stood outside under the stars. But having understood where he was coming from and that, in effect, his gruffness showed his affection and passion for art, I told him that, “My grandmothers love everything (artwise) that I do. But they will never make me a better artist. You will, and so we are ok.” My friend is perhaps too often my cheerleader and I need to figure this stuff out.

The image below is of the first step in this painting process taught at Angel. [I still had corrections to make then.] Unfortunately, I could not document the other steps I did that day because my digital camera is dying. I really need to break down and do the research and get another camera quickly.

New Marble Sculpture Gymnast

Cari Amici (Dear Friends),
I am still trying to get caught up after so much whirlwind these last several months. And I wanted to share with you a little bit of news, in anticipation of my next art newsletter. Here is the “Gymnast” marble carving that I have been writing about on my blog for a good part of 2011. She is currently on exhibit at Carved Stone in Dripping Springs, Texas. For more images, click here: http://www.borsheimarts.com/sculpture/2011/gymnast-marble.htm.

Because of a variety of questions that I have received, I recently rearranged the items on the right-side column of my blog. The “Search This Blog” feature is now much closer to the top (right over the “About Me” section) and I hope that will make it easier for you to find a topic of your choosing. You would have to visit the actual blog site (http://artbyborsheim.blogspot.com) to see this column. Also, in a shameless plug, if you are enjoying these posts and would like to support the time and effort I put into the photographs and the writing, you may donate in any amount you wish (People tend to give about $20 per donation) via a PayPal link in this column. In addition, I am an Amazon.com affiliate and you may indirectly support this blog as you shop there – but first, you must visit my blog online and scroll down to the “Search Amazon” window box. Then just start your shopping from my page! Thank you so much. http://artbyborsheim.blogspot.com

Lagniappe: How cool is this? Poet Claire Emba paired my pastel art "Songbird" with her poetry on her blog posting:
http://poetrybyemba.blogspot.com/2012/01/normal-0-microsoftinternetexplorer4.html

Italy New Year’s Eve Tradition

Cari Amici (Dear Friends),
On the morning on 31 December, I read on a Facebook posting about Florence, Italy, that there was an Italian tradition for New Years: According to: Freya's Florence Tours - Freya Middleton: Don't forget to wear your red underwear to ring in the new year! Italians say it'll bring you luck in the coming year. Red wards off the malocchio (Evil Eye) and is a symbol of love, prosperity, and fertility... but it must be thrown away after New Year's Eve!

I was fortunate enough to have received four separate invitations for New Year’s Eve, each different in activity and energy. I wanted to try them all! But a girl only has so many hours in the day. Before bicycling into Scandicci to catch the Tramvia, I stopped in at my neighbor’s home. Giuliana had invited me to share dinner with her and her husband Renato. Their children all had other plans and I had told them that unless I could find a couch to sleep on in the city, I was not sure if I could go into central Florence for the huge casino (mess, chaos) that occurs there each New Year’s Eve. Everyone I knew was having guests.

But that day I received the invitation from a friend and decided to go into town. After expressing my regrets to Giuliana, she asked me to wait because she had a little gift for me. Imagine that! Can you imagine my surprised joy when I opened the wrapping and discovered a small pair of red panties! Oh, I was delighted! [My mother had guessed on Facebook that I would be going commando, so this was quite funny.] So, here is an image that Giuliana’s grandson Marco took of us. The image is not so happy as we worried about his ability to use the camera, but these are my sweet neighbors.

I roamed around in town until meeting up with my friend Jacopo at Giubbe Rosse, a famous café and artist hangout for at least a century. The café is situated off to one side of the famous Piazza della Repubblica and as I approached, I could see the band playing already on a stage set up in the square. Once inside, I met some new friends and saw some other people that Jacopo had introduced me to the week before. I have to say that I was still tickled by Giuliana’s sweetness that I enthusiastically pulled out of my backpack the red panties to show everyone at the table. Hearty and understanding laughs all around – I wondered later if “my momma raised me right” and was grateful that my friends did not think me too forward.

I had to leave them before I really wanted to because I was due at Susan’s flat. Once there, I went to put on my good luck charm. And so it went that the last night of the year was spent visiting wonderful people and roaming the streets of the city. I got kisses and vodka. I watched couples dancing together in the streets and people emptying their champagne and other boozy bottles before throwing them down into the streets, smashing the glass to pieces.

Loudly booming fireworks were going off all over the city and as I walked along the Oltrarno side of the river, I had this image in my mind that this must be a small sampling of what it must have been like when the Germans bombed the city back in World War II, destroying all of the bridges except the Ponte Vecchio. We always have yin and yang . . . we destroy with bombs and on this night, we celebrated with bombs, of sorts.

The following images were taken in Piazze della Signoria AFTER the year had changed over, perhaps around 1:30 a.m. since I was elsewhere at the hour of midnight. The orchestra playing was a new addition from other Capodanno celebrations that I have attended in Firenze. The musicians were positioned inside the Loggia dei Lanzi, among the famous stone and bronze sculptures. I suspect that was to protect them and their instruments -- even drunks here will have a strong sense of respect towards the art, if not each other.

On the other hand, I am not sure what to make of this: an interpretation or disrespect? On Via Calimala where two of my street painting colleagues had created artworks earlier in the day, I thought that I saw Claudio’s Madonna crying. Well, she was, but because someone had spit on her face in order to give her this emotional response.

I did not wake until almost noon today. But I wanted to follow the Italian tradition to the full extent. This last image was taken of me right next to the Basilica di Santa Croce, moments before I put the red panties in the trash bin. Hours later, I returned to my home and went to give my auguris to Giuliana and her family, who were all finishing up their holiday dinner. I was invited to join in the meal and while enjoying a lovely afternoon with the entire family, I entertained them with my story about the fate of the red panties. Susanna laughed and said that it really is not necessary to disgard them in order to become “in fortuna,” I only needed to wash them! [Would one not do this anyway??? Where is the drama in that? Had I just insulted Giuliana?] They also agreed when I told them that my mother suggested that this tradition was created by those in the clothing business. So, Giuliana helped the local economy and I have my cherished memories. Happy 2012!