The Model a painting

Dear Art Lover,

     Part of the time spent in my former home and studio in central Texas has been spent painting.  I have so many unfinished works or sketches in both 2-d and 3-d that I still want to finish. 

     Many years ago I was interested in experimenting with marble dust on canvas, sculpting it a big at times to get a more 3-d effect on a painted work on board or canvas.  That was how I started this new painting “The Model.”
    

The Model - Marble Dust and Oil on 40" x 30" Canvas

     I have a mysterious art supporter who occasionally sends me things of interest.  If memory serves, he either sent me the film on tape of “The Model” or wrote to me about it.  In any event, this French film inspired the pose and the idea for this painting.  It records the moment of “unveiling” and I hope to have captured something of those mixed feelings one may have of anticipation, shyness, confidence, appreciation, and so many more things that often happen in an instance before the work begins.

The Model - Marble Dust and Oil on 40" x 30" Canvas Framed

     If you are interested in buying this painting, please just contact me.  “The Model” makes her debut at the upcoming art party… your invitation follows below. [Enjoy Warren’s whimsical title…]

Cullar - Borsheim - Cullar - Borsheim: Paintings and Sculpture

Rembrandt Meets Picasso
TWO NIGHTS; TWO DIVERSE ARTISTS TOGETHER: Kelly Borsheim [Rembrandt] and Warren Cullar [Picasso]
WHEN: 8th [Tuesday] & 9th [Wednesday] September 2015:
6:30 – 9:30 p.m. each evening
WHERE: Austin, Texas; Studio of Warren Cullar, 12102 Conrad Road, 78727; Tel. 512.589.6717
WHY? Because life is worth living and art is worth having!

Sculpture AND paintings by BOTH artists.
Wine and cheese party.
Please bring art-loving friends.

http://BorsheimArts.com/
http://artwarren.com/

Peace,
Kelly

~ Kelly Borsheim, sculptor, painter, writer, teacher

http://BorsheimArts.com

Vermeer Exhibition Rome Italy

Cari Amici (Dear Friends),

We went to Roma recently to see the exhibit “Vermeer: il secolo d’oro dell’arte olandese” ("Vermeer: the Golden Age of Dutch Art"), although being the multi-taskers that we all are, Vermeer was not the only reason to go to Roma (as hopefully you gathered from my recent blog posts). The exhibit was inside the Quirinale in the central part of the city and is easy to find.

I enjoyed the display. Each painting was hung on its own colored wall. There was a warm feel to the room by the variety of colors chosen and the personal attention given to each work. The artist’s name was written at the top of each wall, except Vermeer’s. His purple walls signified royalty, and like royalty, one need not be given the royal person’s name. One is expected to know these things already.

It is quite possible that I “people watch” as much as I look at the art on the walls. I was enchanted by a father who took his young son to each painting. They spoke at length about each one, longer than most people generally stand in front of a work of art. They are in the foreground of this image I secretly took of one of the Vermeer’s paintings on exhibit. (See the purple wall?) Until someone can explain how my flash-less, noiseless behavior is hurting the art or the viewers of it, I will continue to take images without permission. Most of the time, what I am interested in is not something that I will find on a postcard, or even sometimes in the catalog. And there you have it: another human behavior noted. We all justify our own actions, good or “bad.”

This painting of the girl in the red hat by Johannes Vermeer is the one that is being used on all the publicity. It is quite beautiful with a wonderful use of color and, of course, light. But I had not expected it to be so small, perhaps 8 x 6 inches? It is no surprise that the qualities that I enjoyed about the Vermeers were the soft edges, atmosphere, and the dramatically soft light.

As my friend Roberto pointed out, “The Lute Player” (shown here) is lovely because of its intimacy. The majority of the paintings in this exhibit were by contemporaries or perhaps students or followers of Vermeer. However, most were not to my taste. In general, one could appreciate the skills and technique involved. Painting is, after all, a difficult thing to do well. Besides the occasional poor drawing skills, the edges were all so sharp that I wondered if these artworks were painted in the fast drying egg tempera. When edges are consistently sharp, the viewer can have the impression that the work was a bit formulaic, not unlike a paint-by-number situation, although I am not intending to be so ugly.

I do not know art history as well as I should, I suppose, but it seems to me that the Dutch were interested in portraying their own contemporary Dutch life sooner than many other painters had moved away from mythological or religious concepts. I enjoyed how often dogs were painted into these scenes. I miss my dog Zac a lot and remember well how important these companions are in our daily lives. I was also amused by the artists who wanted us to see dogs peeing, even inside of a church!

The painting that I found myself drawn to again and again was the self-portrait of Carel Fabritius. A student of Rembrandt and tutor to Vermeer, he died at a horribly young age, in the famous Delft Explosion. Carel Fabritius died of his injuries after a gunpowder store exploded. Most of his paintings were lost as well.

This self portrait from 1650 (four years before his death) is beautifully done and we studied it for a long while. But what is up with that hat on the right side? Seriously, had it made sense and been symmetrical with the rest of the form of the hat, it would not be nearly as interesting a shape! How does one invent such joys? Also, as I commented to Roberto, the eyes do not match up as we are taught to do, but they work. However, I do not think the eyes would have worked if the shoulders did not work with them. There is a quality – je ne sais quoi – that is consistent in the body language. It is the illusive thing that we artists want to capture… the essence of the emotion in the gesture. Hmmm….

The exhibit “Vermeer: il secolo d’oro dell’arte olandese” ("Vermeer: the Golden Age of Dutch Art") continues at the Quirinale in central Rome until 20 January 2013.

Here are some lovely large images from the Vermeer exhibit, including a study that Vermeer did from a Florentine artist. It is interesting to see the changes that he made to the original: https://art4arte.wordpress.com/tag/jan-van-der-heyden/

You might also enjoy this link: http://www.alaintruong.com/tag/Carel%20Fabritius.

Buon compleanno, Roberto! Your enthusiasm is contagious and pure.

P.S. These latter images are some of the views I had while inside the Quirinale in Roma, Italy.

Erotic Art

Cari Amici (Dear Friends),

It is very frustrating, but sometimes my work is not permitted to be exhibited because of “rules” against nudity in art. This despite the fact that most people are extremely complimentary of the sensitivity in which I portray people in their most vulnerable state (or so they tell me).

So, if you cannot beat ‘em, . . . join ‘em.

And I actually feel a bit excited to be joining the ranks of many of my predecessors, including lots of the “Big Boys” such as Rembrandt, Leonardo da Vinci, Théodore Géricault, Rodin, Pablo Picasso, and my friend and mentor Vasily Fedorouk. Even Michelangelo painted quite a lascivious “Leda and the Swan” composition. I suspect that besides the Japanese, Egyptians, and the Greeks, every culture has birthed some form of erotic art.

While exploring various compositions, I was trying to think of a title to inspire me and keep me on track. I was seeking eroticism, not vulgarity. My ex-roommate Elena, from Italy, unknowingly named this pastel and charcoal drawing. She and I happened to be corresponding shortly after I began work on this piece. She often addresses me as “tesoro,” which is Italian for “treasure” and is a term of affection among the Italians.

Thus, I would be happy to introduce to you my first published work of intentionally erotic art.

”Tesoro!”
22” x 16”
Charcoal and Pastel Drawing
Roma-brand paper
$1800 (+ $20 shipping + applicable sales tax)
by Kelly Borsheim

And I wish you a sensuous and joyful 2010 full of passion and amore.

Rembrandt Street Painting

Cari Amici (Dear Friends),

It is true that admiration becomes refined through imitation. I mean that once a person tries something for himself, he gains a better understanding of the accomplishments of another. In truth, I was not particularly interested in portraiture before I came to Italy. And in the case of the famous artist Rembrandt, I tend to like his etchings more than his paintings. I liked the light in some Rembrandts, but sometimes the scratchy-like texture in the paint does not appeal to me.

But for all of the famous paintings of San Paolo that I researched for this street painting competition in Nocera Superiore, Italy, recently, I found myself drawn to Rembrant’s “Saint Paul at his Writing Desk.” Our group’s organizer, Claudio, asked me to add bars in a window to signify that my drawing depicts St. Paul’s second time in prison. (The Florence group of madonnari [street painters] wanted 19 images in a time-line depicting specific events in Paul’s life.)

I was tired when I arrived in Nocera Superiore, but we had to draw most of the night in order to finish our street paintings by noon the next day. At first I worried that Saint Paul’s head was too small to make an impact, in the stilo di madonnari, but I am glad that I chose not to enlarge the entire composition.




While I see many things that I would have liked to do differently, I was very happy with my work. In fact, I am thinking that I would enjoy creating an oil painting of this same Rembrandt.

I leave you today with a few images of how we madonnari spent our early morning and afternoon of the street painting competition in this small Italian town. No, we are not bums . . .




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Gesso Portrait Cast Study Drawing Florence Italy

Cari Amici,

Here are some images of the man I will be thinking about most of this summer. I miss him already, but had to stop working on him so that the painting workshop with Martinho Correia could begin. My man is the (oh-so-) late banker for the famous Medici family and my mission (which I have chosen to accept) is to create a drawing of the gesso (plaster) copy of the portrait sculpture by Donatello. The original sculpture is a terra cotta with colored glazes in the Bargello, Florence, Italy’s beloved sculpture museum (and I understand a former prison). I have always been drawn to this work, but barely recognized it all in white gesso.

Here you can see my set up with my drawing next to the plaster cast. Shadows are created by hanging stuff between the light source and the art in a manner that gives desired or at least interesting results. I am using the sight-size method, which means, among other things, that I will be getting plenty of exercise. I stand away from my drawing at some specific point, usually around three times the depth of the original. I decide upon a “click-in” spot to help me view my work and the original from the same angle each time. From this vantagepoint, I look and study. I make relationships. Then I advance to make a mark on the paper. Retreating, I realign my stance and check this mark. A lot of pacing, but the results are great training for the eye.



This particular project seems sexier to me than my other charcoal drawings. This time I am using a grey Roma paper with not only black charcoals, but also white pastels. The image above shows the grey paper with only the black added. The image below shows the beginning of the addition of white. I am using a Rembrandt white pastel, since it is the whitest I have found thus far. This technique gives me a better tonal range possible in the drawing. Mmm mmm mmmmmm



The idea of using the grey paper is to incorporate more of the paper into the design. White and black should never meet. There should always be some grey between, no matter how little. Otherwise, I will get mud. Thus far, I am in love and I intend to feed that love until I can get back to him in September.

In the meantime, I am designing some sculptures. Stay tuned . . . same bat channel.