Friday, November 13, 2009

East Austin Studio Tour Texas


Cari Amici (Dear Friends),

You Are Invited!

Free tours of art studios based in East Austin, Texas, feature the regular artist inhabitants, as well as many, many guest artists, including myself (Kelly Borsheim is a guest of Schoen Sculpture Studio). Please come see my drawings, sculpture in marble or bronze. I will also have giclées available from two of my most popular paintings AND a great sale on some of my framed photographs from Italy.

There are catalogs and maps available to all of the art studios and art-related events. There are more than 150 studios to see this year! Check out the E.A.S.T. Web site (link below) for catalog locations.

14-15 November
21-22 November
(Sat & Sun)
10:00 am - 5 p.m.

E.A.S.T. - East Austin Studio Tour (Texas)
Kelly Borsheim is a Guest Artist Both Weekends
Schoen Sculpture Studio: Sculptor Beth Schoen
1406 Smith Road, Suite E
Austin, Texas 78721
Tel. 512.389.5000
Web site: www.eastaustinstudiotour.com

Thursday, November 12, 2009

Indianapolis and Chicago

Cari Amici (Dear Friends),

I recently returned from my visit to Indianapolis for two art events at the Franklin Barry Gallery. I was charmed to meet my formerly only-through-Facebook friend and fellow artist Travis Little. Travis also has some of his mixed media figurative works at the gallery. He not only supplied the digital projector for my presentation of “My Life as On of the Madonnari (Italian street painters)”, but he also showed me around downtown Indy a bit whenever we found time away from business. I am afraid I teased him about being a groupie because he was so friendly and supportive, as well as complimentary of my work. I am honored to have made his acquaintance for real.


I hope you enjoy this self-portrait I took on a timer of Travis and me showing off some of our artwork in the gallery while owner Don Elliott was busy choosing frames and taking care of the details for the upcoming exhibit. I wanted to share this cool story: that morning I had a minor “ironing incident” with some olive oil and my skirt and Don ended up pulling some of his mother’s dresses from a closet. So, this may have been the first time I have ever worn orange before! [Don gave me this dress and the vintage slip that went with it before I left his home. How cool was that?!]


I love seeing how Don and his assistant Chuck frame my drawings and paintings. I was delighted that Don chose a thin metallic magenta frame for the oil painting “Insatiable.” I do not have an eye for framing, but this choice made this painting even more colorful and fun. For November, Don has featured this colorful large sensuous mouth in the front window of the Franklin Barry Gallery aka The Frame Shop. He also exhibits several of my series of “Lips” stone carvings. See them if you can!


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The morning after the First Friday Gallery Walk in Indy, I headed to Chicago to see the family of my late friend and mentor Vasily Fedorouk.. Vasily’s wife Dilbara and I enjoyed our time together and spoke a lot about ways in which we can keep alive the memory of Vasily and his art. I was thrilled to see my friend’s latest marble sculpture, but so sad to realize this was also his last. Although I am tempted to share images of this composition with you, I defer to his family on this point. Instead, I hope you enjoy this image of a vine growing in their back yard. Can you tell me what plant this is? I have never seen one like it before.

Friday, November 6, 2009

Male Nude Art Drawing

Cari Amici (Dear Friends),

Perhaps you remember some of the copies I have created of famous artworks. Today I want to share with you a copy I made of one of my own figure drawings. I had done a pencil sketch in Florence, Italy, of a model named Gianni (Johnny) on 20 February 2009. It was only a 40-minute sketch (two 20-minutes poses), but I rather liked him.



So recently I decided to redraw the art onto some crème Italian Umbria paper using charcoal and white pastel. These materials give me a greater range of tone to play with than pencil and I was happy that I was able to improve upon my original drawing.



“Gianni 2009”
18” x 8”
Charcoal and Pastel
Umbria paper


If interested in the figure drawing “Gianni 2009” please contact:

The Franklin Barry Gallery in Indianapolis.
617 Massachusetts Avenue
Indianapolis, Indiana 46204
Tel. 317.822.8455

Contact: Don Elliott

Monday, November 2, 2009

Pastel Art Workshop Rae Andrews

Cari Amici (Dear Friends),

I started my Halloween Saturday by attending a workshop on using pastels by colorist Rae Andrews. The workshop was held in Austin, Texas, at Jerry’s Artarama. I still consider myself a novice when it comes to color and the medium of pastel and one can always learn something from another artist.


It is always fun to watch the creative process and interesting when the creator is able to share the thoughts that go along with that process. Rae is more adept than I at being able to speak while drawing. I took these images (with permission) to give you some idea of the atmosphere of the demonstration. In this first image, Rae is reminding us that one must step back and look at our work from a distance. If you move far enough back, you no longer see the details, but simply the design of shapes. I was always taught that if, from across a room, an artwork does not intrigue the viewer enough to pull him towards the piece, what is the point of having details with which to engage him further?


I include this next image because it shows a pastel painting of horses in its frame (my apology for the glare from the fluorescent light above). Rae said that this pastel painting of the horses was sprayed with fixative and then framed very carefully with the pastel art on a board pushed right up against the glass - no mat! It must be secured well for this to work, but she has shipped this work successfully and carried it around for many years now. I was surprised that one could ship glass successfully and had no idea that pastel could be against the glass. She had a name for this time of framing (French something?), but I forgot to record it.



In this close-up shot, you can see how the sandpaper-like Sennelier pastel paper not only offers ‘tooth’ for holding pastel, but also allows for lots of texture. Although Rae’s style is not as tight as mine, one can still clearly recognize the subject matter. Realism is really just a specific arrangement of abstract shapes.

I thought I would include this image of the work of the parrots almost completed - at least for the demonstration. It is a quite colorful and fun composition and I also enjoyed the colorful papers hanging on racks behind the artist at Jerry’s Artarama. I daydreamed about what I could do with those . . .






Rae also spoke about two products that I had never heard of before: an electronic eraser (which Jerry’s did not currently have on hand) and pastel pencils! The electronic eraser is supposed to be a more exact and efficient way to remove the pastel without affecting other areas. The pastel pencils are truly pastels and with the ability to sharpen them, they are great for refining small details. Based on my current projects, I can see that they would be ever so useful for doing portraits, especially around the eyes. So, now I know what I want for Christmas!

Rae Andrews also did a demonstration of ocean waves crashing against some boulders on a shore. It had a very lively energy to it. Check out more of her work by clicking on her name in bold.

Another helpful link: Austin Pastel Society

Friday, October 30, 2009

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 . . .

Wednesday, October 28, 2009

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


Monday, October 26, 2009

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