Towards Siena Oil Painting

Cari Amici (Dear Friends),

"Towards Siena"
oil on board
24" x 16"
copyright 2009 by Kelly Borsheim


As you can see, I ended up making different choices than what I shared with your on my last post about brainstorming. However, you may observe that the basic design as far as where the light goes is still there.

While I was creating a landscape inspired by Siena, Italy, it occurred to me that I was probably subliminally influenced by a lot of traditional Italian portraits, including the "Mona Lisa." Except that in this case, I have the subject of the portrait looking away from the viewer and towards the landscape. I wondered if some day after I am long gone, some critic will dig up this painting somewhere and claim that I was making some sort of statement or something. Maybe I should just proclaim right now that I had this very intent and be done with it!

“Towards Siena” will debut in Indianapolis after I arrive for my presentation about my life as an Italian street painter and the next night, for an art reception. Both events occur at the Franklin Barry Gallery on Massachusetts Avenue (Mass Ave, the locals call her).

Feel free to add your honest comments or crits. Creation is always a process and there are many other choices that could have been made. (But I am quite happy with this effort.) Thank you.

More resources:
Italian Portrait Painting In The Sixteenth Century

Florentine School, mid Sixteenth Century: Portrait of a Young Man

If you like what you read, enjoy the photos, and would like to help support this blog(ger) / artist, click here . . .

BrainStorming Ideas for a Painting

Cari Amici (Dear Friends),

Is it worth it to keep old sketches? I have been reviewing old works that I have kept in my studio over the years to see if any still speak to me. The image below is of a large piece of grey-primed masonite on which I painted (in oil) several sketches from life many years ago -- perhaps 1997? I always liked parts of it, but these were short poses and I did not have time to finish. I also realize that it is almost impossible to recreate a model sitting -- the lighting, the pose -- Still, does my studio need the cleaning that badly? Hint: I am not at all impressed with the job I did on the woman's face in the upper left . . .



Once I made my decision, I cut the board along a pencil line (perhaps you noticed in the image before this one). The board was then sanded and re-gessoed, pretty much leaving the figure alone. (The other part of the board was completely redone and a new composition now exists on it.) I cannot explain why I have liked this sketch of the back of a man’s head all of these years, but I do. So, I took a photo and went into Photoshop to brainstorm ideas for the rest of the composition. My first step was to decide the direction of the light that would compliment my sketch. Then I would be more able to figure out what shapes I wanted to enhance the basic design.

I often spend time admiring the skies and taking images when so moved. I have been dying to paint clouds for years and return to them often. This next was one layered image with a silhouetted tree from my yard added to give me the contrast that I was seeking. I like this ok, but was not wow'd. But I just wanted to show you that for all of the paintings that you see, there is generally a lot of "behind the scene" thinking going on to brainstorm ideas for paintings, and in some cases, many drawings or collages in one medium or another that you may never see.


I will post the finished painting here soon. He will debut in Indianapolis after I arrive at the Franklin Barry Gallery for my presentation about “My Life as a ‘Madonnara’ (street painter) in Italy” on November 5th (small admission fee). The next night is an art reception for some of my new works, as part of the IDADA First Friday Art Tour, Friday, Nov. 6th, 6-9:00 pm.

Franklin Barry Gallery, 617 Massachusetts Ave., Indianapolis. Information: 317/822-8455.

October is National Arts and Humanities Month

Male Nude Study Prudhon Art

Cari Amici (Dear Friends),

While I spend most of my day painting and sculpting, I also try to squeeze in some drawing time. There are naturally several reasons for this, but mostly, I love the feel of pencil or charcoal on paper. And I love the quality look of a good drawing.

In order to keep up my skills and hopefully put great art techniques into at least my subconscious, I have been creating copies of great drawings. This time I present to you my second copy of a male nude figure by Paul Pierre Prud’hon.

Like my first Prudhon copy, “Male Study for an Allegory of the Rhine River,” this untitled male figure (I call him simply “# 2”) was drawn with charcoal and white pastel. He is on Umbria-brand paper that I brought back to Texas with me from Italy. The black and white drawing on a crème-colored paper measures 17” x 12” and will sell for $600 + $20 shipping (Texas sales tax of 6.75% applies to some).

If interested in acquiring this drawing of a beautiful male figure, either click on the PayPal button below or contact the studio.

And thank you for your interest in classical figurative art.

# 2
“Male Figure Leaning Over”
charcoal and white chalk drawing
(Italian) Umbria paper
17” x 12”
by Kelly Borsheim, after P.P. Prud’hon

If you would like to see some of my current original drawings, please visit this link:
Luce dall'oscurità

October is National Arts and Humanities Month