Matisse-Picasso mini zine

(Warning, long post with lots of photos)

In the ‘excitement’ of the terrible hail storm yesterday while we were at the National Gallery of Australia I forgot completely about my mini Matisse-Picasso zine.

For non-locals, our weeks of smoke filled skies were cleared by a tremendously damaging hail storm yesterday. Here is a video of what the rain sounded like as we walked around inside the National Gallery of Australia. I was too stunned to get my video happening to record the sound of the hail striking the roof, suffice to say it sounded like the sky was throwing boulders.

The paintings are by Hugh Ramsay an extremely talented, Scottish born Australian artist who died in 1906 from tuberculosis at age 28.

The road and forecourt of the National Gallery of Australia covered in hail the size of golf balls.

Anyway, we originally went to the gallery to make our second visit to the Matisse-Picasso exhibition. While waiting to go in I sat down at the art workshop space just outside the entrance to the exhibition and started making a little collage with the idea of using it to draw on. It then occurred to me that I could make a book out of it. I did this with the help of a short video on how to fold a piece of paper into a book (ah the benefits of the gallery free wi-fi).

This is the closest photo I have of the way the paper looked before turning it into the mini book. This is the reverse side where the painting names and dates are listed.

One of the advantages of making such a small book (5 cm x 7.5 cm or 2 x 3inches), is that all the sketches had to be small and fairly simple. This is the little book as it was at the gallery, (we are pencil only in the gallery).

Picasso, Head of a Boy, 1906: Matisse, Meditation (Portrait of Laurette), c.1916

Picasso, Woman with Tambourine, 1936.

Picasso, Still Life with Pitcher and Apples, 1919: Matisse, The Plaster Torso, 1919.

The front and back of my little zine. Matisse, The Abduction of Europa, 1929: Matisse, Nono Lebasque, 1909.

For better or worse I added colour to the zine when I got home.

I had a great time making this little zine, indeed it’s small size encouraged me to just have fun with the process. I did do some slightly larger sketches in another book, but I think this might become quite addictive.

PS the video that I used to make the book can be found here.

One more parting photo. This is the road outside the gallery strewn with shredded foliage. It looks sort of sylvan, but for knowing how damaged the trees were.

Drawing the exhibition – Bodies of Art

Bodies of Art: Human form from the national collection, is currently on display in the downstairs sculpture rooms of the National Gallery of Australia. I spent the morning there quietly sketching away. The exhibition is a stimulating mix of sculpture, paintings, photography and video works which provided me with lots of interesting compositions to work on.

My first sketch was a grouping of stone sculptures, Torso, 1948 by Rosemary Madigan and Number 24, Harry Boyd by Robert Klippel and a third piece, an Anthropomorphic monument [gowe nio niha], (19th century or earlier) from the island of Nias in Indonesia. I was instantly drawn to the sandstone used in the two Australian works. The deep gougemarks on the Klippel sculpture acted like lines drawn across the surface. In contrast the smoother texture of Madigan’s work supported the subtlety of her torso’s carved planes.

Left to Right, Torso; Anthropomorphic Figure; Number 24, Harry Boyd, graphite with added watercolour

Behind me was an interesting juxtaposition of a hanging work by Giulio Paolini, Aria (Air), 1983 and beyond that, Triptych, 1970, by Francis Bacon.

Paolini’s work consists of two photographs of a renaissance sculpture sandwiched between perspex and hang from a steel cable. The work slowly gyrates beneath the high gallery ceiling, while underneath lies a piece of shattered glass. Behind it hangs Bacon’s equally fractured figures, curiously feeling much more grounded and solid than Paolini’s figure does.

Giulio Paolini, Aria (Air), 1983 and Francis Bacon, Triptych, 1970, pencil with added watercolour

While I drawing the partial elements of the Bacon triptych into this sketch, I became quite intrigued by the figures in the work’s central panel. After a restorative cup of coffee and some biscuits in the Member’s Lounge I returned to my final sketch of the day, the detail of the central panel.

There is certainly scope for more drawing here, so I will plan to make it back there soon.

All the sketching was done in the gallery and the watercolour was added afterwards.

Three things I sketched today

Today I drew three things at the National Gallery of Australia.

The cancellation proof of David Hockney’s Portrait of Rolf Nelson, 1968, lithograph with hand colouring. The cancellation proof has red eyes and bow lips with a peace sign on the sitters shirt.

You can see the original version of the print here.

People sitting in the Members lounge.

A Gandaran Bodisattva, carved from grey schist.

Drawing the exhibition, Rodel Tapaya

Earlier this year we went to a talk at the National Gallery of Australia by Philippine artist Rodel Tapaya.  His work is an exuberant mix of the contemporary, political and the mythic. 

Modern Manananggals, 2013, wood, brass, silver, fibreglass, epoxy and oil paint

The sculptural work I sketched, above, of suspended figures holding suitcases comments on the impact on the children of parents forced to work overseas. He uses the image of the manananggal, the Philippines equivalent of the vampire. These creatures leave the lower half of their body behind, as they fly off nightly to drink the blood of pregnant women. The contention of this work is that Philippino parents earn an income by leaving their own children behind to work as carers for other people’s children.

Dr Sketchy and all that glitters

Last night my partner and I headed out to Dr Sketchy’s at the National Gallery of Australia. Like everyone at our table we were unsure whether there was a theme for the evening, until models in silver and gold paint appeared! Everything metallic and shiny was the story.

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A model in gold, Posca acrylic markers

I decided to use my Posca markers for some of the sketches, particularly as they already had the seal of approval for use at the event. I liked using them, but realised I should have done some testing before I went. My yellow ochre marker, used above, just wasn’t flowing very well, so I ended up with a rather scratchy effect.

It was also a pleasure to see a male burlesque performer/model in the line-up. Sir Regal Shivers (and his dragon George) certainly got the audience shouting for more.

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Knight, minus the shining armour, coloured pencil

We were also treated to performances from visiting interstate burlesque performers including the wild Zelia Rose, who was the 2014 Miss Burlesque Australia.

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Zelia Rose, coloured pencil

The evening finished with the final group pose. I managed to only get two of the models into my sketch.

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Final group sketch, coloured pencil

As always it was a tremendous evening. The output of all the participating sketchers was amazing and the performances particularly good. I’m looking forward to next time!

Penciled in

Some recent sketches using coloured pencil and my new toned tan Strathmore sketchbook.

In the coffee shop Saturday morning, coloured pencil on toned tan paper

In the coffee shop Saturday morning, coloured pencil on toned tan paper

Today’s effort from the window of the National Gallery of Australia’ cafe window. This section of the garden has recently been cleaned out and re-planted with grass trees.

Garden at the National Gallery of Australia, coloured pencil on toned tan paper, 9 May 2016

Garden at the National Gallery of Australia, coloured pencil on toned tan paper, 9 May 2016

I’m trying not to resort to ‘colouring in’, hence the vigorous strokes, which I’m enjoying making.

One more from the archive, a sketch in my toned-grey book, a spool of twine at a building site.

A spool of builders twine, coloured pencil on toned grey paper, 11 April 2016.

A spool of builders twine, coloured pencil on toned grey paper, 11 April 2016.

More faces

A quick trip to the National Gallery yesterday to see the small exhibition Black – more of that another time perhaps. En route passed this unidentified Indian goddess in the Asian gallery.

Unknown goddess (possibly Lakshmi or Gangaur), Patan, 17th cent. wood and pigment

Unknown goddess (possibly Lakshmi or Gangaur), Patan, 17th cent. wood and pigment

Today I was back to play at the cafe again with my magic pencils  and the odd bit of white chalk.

Two faces at the cafe, magic pencils Fire and America (left); Fire, America, Tropical and white chalk (right)

Two faces at the cafe, magic pencils Fire and America (left); Fire, America, Tropical and white chalk (right)

And some more.

Face, white chalk and magic pencils, America and Tropical

Face, white chalk and magic pencils, America and Tropical

Obscured face, magic pencils Fire and America and white chalk

Obscured face, magic pencils Fire and America and white chalk