by Leonie Andrews

Escape to the country!

Last week we finally left our Canberra for the first time in months to drive an hour away to the country town of Braidwood.

The village of Braidwood started to form around the 1840s and has retained many of it’s older 19th century buildings along the main street. As such, it’s a great place to sketch.

I was sketching across the road from the CWA (Country Women’s Association) building and the post office and then later further down the main street into town.

My first sketch was made on a page that I had prepared with white gesso and ink a few weeks back. I also collaged some paper onto my page, which I had made by printing from a gelli (gel) plate. That saved me from having to paint the mountain.

The CWA building and a corner of the post office on Wallace St Braidwood.

Along the street my eye was caught by an interesting combination of rooflines and light poles.

Steep roofs and tall chimneys. Watercolour and pencil.

I was just getting stuck into my blind contour drawing when I had to go for lunch which we had booked at the Albion Cafe.

Blind contour drawing of the same scene of rooftops and light poles.

I liked this last one best of all. It’s probably a good thing that we had to go to lunch before I ruined it.

by Leonie Andrews

Loving your local tree

Artist Rebecca Mayo has launched a collaborative art program examining “the role of trees during uncertain times”. Participants are being invited to take a rubbing of their favourite local tree. She asks “Has this slower paced, looped walking (where we set off to get out of the house, rather than to reach a physical destination) allowed us to pay a new kind of attention to our neighbourhoods and what grows there?”

I received my kit last week and took advantage of the relatively windless conditions to take a rubbing of my favourite tree. In this case one of the remnant Eucalyptus melliodora (Yellow Box), that started life on Ngunnawal land (before European colonisation), survived pastoralism and having a suburb and an oval built around it. We guesstimate that the trunk is more than 3 metres in circumference (I forgot to measure the rubbing before I sent it off).

Taking a bark rubbing.

I had some help with friends to hold the paper as I  circumnavigated the tree’s large circumference. 

We also had some discussions with passers by who were happy to share their thoughts on this tree with us.

The rubbings will form the basis of an exhibition by Rebecca to be held at the Tuggeranong Arts Centre in 2021.

by Leonie Andrews

Up close to Rembrandt

(Quite a long post)

2019 marked the 350th anniversary of the death of Rembrandt. Both the Rijksmuseum and at the Mauritshuis (Den Haag) were showing all their Rembrandt’s in special exhibitions. So we couldn’t miss this opportunity.

The one painting that I couldn’t get up close and personal with at the Rijksmuseum was The Night Watch, which was being digitally scanned when we were there. By complete coincidence the Rijksmuseum has just released that very digitised image this week. You can super zoom in on the image and watch as it gets more and more detailed as you look.

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The Night Watch (more correctly,  if long-windedly, called Militia Company of District II under the Command of Captain Frans Banninck Cocq, Rembrandt van Rijn, 1642

Most of these photos are from the Rijksmuseum and you will have to bear with the fact that some of them were taken from rakish angles as I attempted to get shots without the milling museum hordes.

Here we go! Rembrandt’s only full length portraits of a couple, Marten Soolmans and Oopjen Coppit, were painted in 1634. The subject of the portraits is as much about the wealth of the couple, as it is the sitters. The refined painted surface shows all the details of the elaborate lace, silver filigree and silk that the couple are wearing. Marten was an up-and-comer, whose father had moved to Amsterdam from Antwerp and made his fortune running a sugar refinery, and Oopjen was the daughter of an established Amsterdam family, 

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Portrait of Marten Soolmans, 1634

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Detail from the Portrait of Marten Soolmans, 1634. Just look at the detail in the wrinkle of the silk stocking, not to mention the woven pattern visible in the stocking of Marten’s left calf. The filigree work and punched holes in the shoes are astounding.

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Portrait of Oopjen Coppit, 1664, who married Marten Soolmans in 1633. She was pregnant with her first child when the painting was carried out.

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Detail of the portrait of Oopjen Coppit, showing not only her pearls, but also the exquisite lace of her cuff and the fine silk of her dress.

Far and away my favourite ‘couple’ portrait by Rembrandt is this un-named man and woman, who chose to have themselves painted as the Biblical couple Isaac and Rebecca. This painting is often referred to as ‘The Jewish Bride’. The tenderness and warmth of their relationship is on show for all to see.

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Issac and Rebecca or The Jewish Bride, 1665-69

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Detail from Isaac and Rebecca or The Jewish Bride, 1665-69

In comparison to the previous two portraits Rembrandt used thick impasto paint and a palette knife on this work to give a more textured feel to the finished painting, though the details of the dress are in reality no less sumptuous than those of the previous works.

The Mauritshuis, situated in the Hague (Den Haag), was relatively quiet compared to the Rijksmuseum and it was definitely worth visiting. When I checked I realised that I took very few photos in the gallery.  I think that was because I was looking and sketching the Rembrandt portraits instead.

I am so pleased that I did take a photo of this poignant painting of King Saul, listening to the young David playing his harp.

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King Saul , a detail from Saul and David, 1651-54 and 1655-58

You can see my sketch of this on the lower right corner of the page below, along with the other self-portraits of Rembrandt, both as a young man and an old one.Rempage

Even now I get a thrill just remembering the chance we had to see all these amazing works.

And just because we are there already I will share with you a bonus shot of that other famous inhabitant of the Mauritshuis, Vermeer’s Girl with the Pearl Earring.

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The Girl with the Pearl Earring, Jan Vermeer, 1665, and a few admirers.

by Leonie Andrews

Van Gogh’s box of wool

A red painted box with balls of wool inside. I wondered what the box was used for. Vincent Van Gogh used the balls of wool to consider possible colour combinations.

Van Gogh’s box of wool, Van Gogh Museum, Amsterdam

Synthetic dyes were discovered in the 1860’s, influencing both fashion and the colours on the palettes of artists.

by Leonie Andrews

Up close to Van Gogh

While in the Netherlands in 2018 we had the opportunity to binge, in person, on the works of Vincent Van Gogh at both the Van Gogh Museum in Amsterdam and the Kröller-Müller Museum in Otterlo.  The latter is the largest private collection of Van Gogh’s work in the world and the second largest collection after the Van Gogh Museum. Unlike the Van Gogh Museum, the Kröller-Müller does allow photography so I was able to take photos and details of some of the works I saw during my visit.

The reason I am posting these photos now is that a fellow blogger, Rose Davies, has been spending some of her recent time attempting to copy Van Gogh’s painting Starry Night. As she commented in her recent post, “it’s so interesting to analyse a famous artwork and see what has gone into it”. So I thought I’d share a few of my detail shots and two drawings I made in the Kröller-Müller Museum.

Please note that these photos were taken standing back and using a close up lens, rather than with my face on the painting. Although I did see a man literally lean over a barricade, place his hand on the wall next to a Van Gogh self portrait in the Rijks Museum and literally stick his face only a few centimetres off the glass!

Enclosed Wheat Field with Rising Sun, late May 1889,

Detail from the left side of the painting (as we are looking at it).

My notes on the painting, Enclosed Wheatfield with Rising Sun.

Wheatfields in a Mountain Landscape, early December, 1889,

Details of the tree from the left side of the painting (as we are looking at it).

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Detail of the tree in the centre right of the painting, (as we are looking at it).

My notes on the colours of the tree on the centre right of the painting

Terrace of a Café at Night (Place Du Forum), circa September 1888

Detail of the street and figures to the far right of the painting, (as we are looking at it).

You can see those black arcs of ‘dry brush’ skipping over the other layers of paint.

Portrait of a Young Woman, late June-early July 1890

Detail of the left shoulder, (as we are seeing the painting).

I love how we are so simply led over the contour of her torso by those blue brush strokes, something that I noticed Van Gogh often does in his self-portraits as well.

Let’s hope that in the near future we will be able to see such art in person again.