Original Oil Painting Mario The Naked Gondolier

Cari Amici,
Back in November, I did a sketch in a white pencil on a dark charcoal paper of an Italian model named Mario. Another “light emerging from darkness” image of a fairly classical style standing pose of a nude male figure.

I liked the shapes so much that I decided to make this study of Mario into one of my Naked Gondoliers painting series. (Mario is actually the first one completed in this painting series.) And so, I have painted this lovely male figure in oil on canvas in my favorite sepia tones: Mario, The Naked Gondolier. I wanted just a hint of Venice in the image, so there is a dark curve of a bridge behind Mario’s head and a gondola under his feet. There is a slight hint of light rippling in dark water to the right. I love the mysterious qualities of this image and may keep exploring these ideas.

Mario measures 45 cm x 30 cm (approximately 17.5 x 12 inches). This oilo sul tela (oil on canvas) will sell for $600, plus shipping and insurance from Italia $25.
I take PayPal here or I can send you an invoice via e-mail.

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And for those who are drawn to the original pencil drawing of the standing male figure, “Study for Mario The Naked Gondolier” is also available. The figure is about 42 centimeters (just over 16 inches) tall. I drew in the light shapes only with a white pencil on a dark charcoal grey Canson paper.

The paper for framing purposes is around 47 x 30 cm, not counting what would be under the mat and frame. The drawing is signed and dated 7 November 2007.

The original drawing of Mario sells for $200, plus $20 shipping and handling.

And again, thank for your making the dream possible.

Construction of a Painting

I started one of my “Naked Gondolier” series paintings this past Sunday. I am doing it in my spare time, whatever that actually means. Anyway, I used the drawing I did of “Mario” that I showed you recently in a previous blog entry as the step-off point. I like the idea of the light in a figure emerging from darkness.

However, I also wanted to imply the gondola, as well as a bridge. I mean, what else spells out Venice (Venezia) in bella Italia? I am not looking to create details, but I do want to elicit an emotional response to the romance of this city. So, I began my disegno, starting with line and a vague idea of three tonal values. I photographed my beginning and then, in Photoshop, started playing with various lighting effects.

Not happy with any one thing, I decided to just start painting. Sometimes these things have a way of speaking for themselves, you know. Yesterday, I asked the Maestro John Angel if he could give me some pointers. I felt lost because I liked the light under the bridge, but it might not work in this particular painting. I was not sure that I wanted the reflection of the bridge to alter the shape of the dark water on the left. And the list went on. I could see why artists do works in series – it becomes possible then to choose one element for each artwork and play with it. Too many notes being played at once only makes noise, not music.

Allora, I concluded my confession to the Maestro with a, “I think that I am trying to do too much with too little.” Tilting his head slightly and with a pensive hesitation, he responded, “You took the words right out of my mouth. But also, I think you are afraid to lose too much.”

Wow. He just summed up my life.

So, I will add the darks and get back to you.
Thanks for reading.