beside the easel

Here's an informative video by Carmen Bambach , curator for the Met in New York on the thought process behind Michelangelo's most famous drawing: http://82nd-and-fifth.metmuseum.org/thinking-aloud

L'Alabardiere, 1529-1530 Jacopo Carrucci (known as Jacopo da Pontormo or Pontormo) is one of those painters who fully embraced Mannerism in a way that makes him quite likeable in spite of himself. He is not easy to define though. His style ranges from bright colors to a dark, sombre Baroque-like palette; his drawings are exciting to study, full of energy and, like many artists, more accurate than his paintings. As a portraitist, Pontormo is in a category unique to the Florentines, both real and unreal at the same time due to his Mannerism; being the teacher of Bronzino we see strong similarities. In the above example, we see an Alabardiere (Halbardier) or guard with the distinctive two-handled pole spear but Pontormo focuses on the young man himself, proud and confident, yet with an innocent face. Pontormo bathes him in warm window light against a dark wall of some sort, again to heighten the textures and colours of the guard. In typical Mannerist fashion, his physique is im...

Drawing is not the form; it is the way of seeing the form. Degas A male nude from behind, c.1630 Gian Lorenzo Bernini In this blog I talk about painting but the importance of drawing cannot be understated of course, and I believe we can learn just as much from studying their techniques of line and strokes as we can from brushstrokes...more in most cases as the drawing is more expressive and intimate. It reveals the personality and character of the artist. The above drawing apparently comes from the period of Bernini's teaching at the Accademia di San Luca in Rome, one of four from the exact same model. This drawing is fairly big for a study, at 55.6 x 42cm (21 x 16 inches). Consider Michelangelo's study for Libyan Sibyl , is only 28.9 x 21.4 cm (11 3/8 x 8 7/16 inches), a small study for a fresco which would be painted several times larger than life size. I can only guess that Bernini was teaching a big class and that maybe his work was on display for students to stud...

I remember when I was younger I had photocopied self-portraits of all my favourite artists tacked to the wall in my basement studio...stern black and white faces looking at me...it made me feel safe, like I was surrounded by the All-Stars of Art, encouraging me silently to get over making mistakes and get past them. It was great support for a self-taught artist! And I needed all the support I could get back then. When we think of self-portraits by famous artists, the usual suspects come to mind...Rembrandt, Van Gogh, Kahlo, or maybe Velazquez or Da Vinci, and it is interesting to note that the Renaissance was where the self-portrait really became popular. With the idea of the artist as more than just a faceless member of a guild (as was the case in the Middle Ages) artists began to study nature and, with better quality mirrors, themselves. This was not a conceit. The publicity machine back then was not quite as state-of-the-art as today, and I'm sure most people could not attach a ...