Showing posts with label portraits. Show all posts
Showing posts with label portraits. Show all posts
Tuesday, October 18, 2011
Monday, October 3, 2011
Portraits and Panels
Circle of Hugo Van der Goes
Fayyum portrait
I know, Lucian Freud is like whoa. Every year I have a student who is super talented and will do a copy of a Freud painting that just is amazing and better than I could. Lately, I have been
looking at Hugo Van der Goes -- for me there is a density there that is like the same as Freud, just blended and smoothed and softened. I also like how sometimes you see these type of portraits on unframed, odd-shaped wood panels (maybe parts of an altar or somesuch) -- so the very "realness" of the illusion of the flesh contrasts with the very obvious object-ness of the support. Same with the Roman Fayum mummy portraits.
Thursday, April 14, 2011
Friday, March 25, 2011
Fayyum still life
I feel terrible about posting this without crediting the artist -- I saved the image but can't find the artist's name. Does anyone know??
Sunday, February 27, 2011
Sketh from the Folger Shakespeare Library
from the Folger Shakespeare Library:George Romney. The head of Lear (King Lear). Drawing, ca. 1773-75
Tuesday, December 21, 2010
portrait class
by Barbara SausePlease check out some of the beautiful work by students in the portrait I/II class I taught at Anne Arundel Community College this past semester.
Thursday, September 9, 2010
misc. portraits
Catherine Goodman, My Sister Sophie
Titian, detail, Altar of Madonna di Ca' Pesaro
My sketch of Sebastian de Morra, Velazquez
Fayoum Portrait Sunday, August 29, 2010
Poem: Brian Age Seven
Brian Age Seven
by Mark Doty
Grateful for their tour
of the pharmacy,
the first-grade class
has drawn these pictures,
each self-portrait taped
to the window-glass,
faces wide to the street,
round and available,
with parallel lines for hair.
I like this one best: Brian,
whose attenuated name
fills a quarter of the frame,
stretched beside impossible
legs descending from the ball
of his torso, two long arms
springing from that same
central sphere. He breathes here,
on his page. It isn’t craft
that makes this figure come alive;
Brian draws just balls and lines,
in wobbly crayon strokes.
Why do some marks
seem to thrill with life,
possess a portion
of the nervous energy
in their maker’s hand?
That big curve of a smile
reaches nearly to the rim
of his face; he holds
a towering ice cream,
brown spheres teetering
on their cone,
a soda fountain gift
half the length of him
—as if it were the flag
of his own country held high
by the unadorned black line
of his arm. Such naked support
for so much delight! Artless boy,
he’s found a system of beauty:
he shows us pleasure
and what pleasure resists.
The ice cream is delicious.
He’s frail beside his relentless standard.
“Brian Age Seven” from Source by Mark Doty, 2001
by Mark Doty
Grateful for their tour
of the pharmacy,
the first-grade class
has drawn these pictures,
each self-portrait taped
to the window-glass,
faces wide to the street,
round and available,
with parallel lines for hair.
I like this one best: Brian,
whose attenuated name
fills a quarter of the frame,
stretched beside impossible
legs descending from the ball
of his torso, two long arms
springing from that same
central sphere. He breathes here,
on his page. It isn’t craft
that makes this figure come alive;
Brian draws just balls and lines,
in wobbly crayon strokes.
Why do some marks
seem to thrill with life,
possess a portion
of the nervous energy
in their maker’s hand?
That big curve of a smile
reaches nearly to the rim
of his face; he holds
a towering ice cream,
brown spheres teetering
on their cone,
a soda fountain gift
half the length of him
—as if it were the flag
of his own country held high
by the unadorned black line
of his arm. Such naked support
for so much delight! Artless boy,
he’s found a system of beauty:
he shows us pleasure
and what pleasure resists.
The ice cream is delicious.
He’s frail beside his relentless standard.
“Brian Age Seven” from Source by Mark Doty, 2001
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