Monday, September 10, 2012

Abstracted

Here's some more recent artwork, this produced with a brush rather than a mouse and pixels.  It's after one of my heroes of abstraction, Hans Hofmann, and entitled "Here Comes the Sun":



One of my students in How to Look at Art this semester protested that abstract art seemed to him to be "without intention," which I take to mean that there doesn't seem to be much thought put into it in its distance from recognizable figures.  My painting above actually took a great deal of thought and time in execution, and it is based upon landscape--the sun rising over a green hill.  There is cloud, rain, and grass.  But sometimes I've produced abstraction that isn't based on anything but its own gestural form, as in Scherzo, a piece I did a couple of years ago which I still like, a Pollockian swirl and spatter of paint:


But I've also had some time for realism lately, such as in the piece below that I did in early summer, based loosely on a photograph taken near Loveland Pass in Colorado in early June of 2011 when the snow was still deep on the higher elevations.  The guy on the horse is a long-time friend of mine who loves the mountains:


The work of painting and drawing goes on--abstract or realist--and it's always a labor of love.

Sunday, September 9, 2012

Photoshop Art

Lately I've been playing around with a trial version of Photoshop Essentials 10, the pared-down version of Adobe's Photoshop.  I'm using it to create modified images for my course this semester on How to Look at Art.  Yesterday I started doing some compositions from scratch with the range of imaging tools the program has to offer, especially the different "brushes."  Here's what I came up with:


It's an abstract composition, obviously, that has the distinct feel of an impressionistic watercolor, or a "water-acrylic."  I like what I came up with and will do more of these, I'm sure (and probably post them into this blog), but for all their power and versatility, a computer mouse and Photoshop are not a brush and paint.
One of the primary reasons I love doing art is the physical, visceral connection between me and the canvas/paper/board through the brush, pencil, pastel stick, or whatever tool or medium I'm holding in my hand.  Perhaps I should try this sort of thing on an iPad--if I had one; it might be analogous to "real" drawing and painting.  I do use a sketch application on my smartphone, which is nice for capturing visual ideas where I happen to be at the time.  But it's never as good as those old-fashioned tools for creating art down in my studio.

Tuesday, August 28, 2012

Battle Days

These days of late August are Battle Days.  One hundred fifty years ago Union and Confederate armies were settling in for a major multi-day battle in northern Virginia.  It was the bloody culmination of a campaign that had begun with the appointment of John Pope, on June 26th, 1862, as general of the newly constituted Army of Virginia, tasked by President Lincoln with moving south to take Richmond, something his cautious commander of the Army of the Potomac, George McClellan, had been unable to accomplish over the past months from the Peninsula.  By late July McClellan had been beaten back from the gates of Richmond and Pope's army lay between Culpepper and the Rapidan River to the south.  Robert E. Lee, the relatively new commander of the Army of Northern Virginia, as it came to be called, freed from the threat of McClellan, decided to move north against Pope in order to push Union troops out of northern Virginia and open a way for a campaign into Maryland.

Out of this would come the Second Battle of Manassas, or the Battle of Second Bull Run, which began late on the 28th of August, and ended on the 30th with the utter defeat of John Pope.  It was a campaign of brilliant strategy & maneuver executed by Lee's subordinate, Stonewall Jackson, before the final crushing battle on the old ground of Bull Run, the first battlefield of the Civil War.

In a previous post on this blog I mentioned poring over the panoramic battle maps in The American Heritage Picture History of the Civil War back in my youth.  These days I've been reading selected battle histories and other books about the Civil War in sync with the 150th anniversary of that conflagration.  This year its the 1862 battles and I read a history of Shiloh in the spring.  These past couple of weeks I've been working through John J. Hennessy's superb account of Second Manassas, Return to Bull Run. But it's been difficult reading, especially as the campaign gave way to the actual battle.  The carnage in the fields and woods of northern Virginia on those days in late August was unbelievable, with some of most intense, close-up fighting of the war.  Soldiers wrote home describing what they had seen and experienced, such as one infantryman from the 7th Wisconsin who fought against the Confederates of the Stonewall Brigade:  "We advanced to within hailing distance of each other, then halted and laid down, and, my God, what a slaughter!  No one appeared to know the object of the fight, and there we stood one hour, the men falling all around; we got no orders to fall back, and Wisconsin men would rather die than fall back without orders."  ... Dawes of the 6th Wisconsin wrote:  "Our one nights experience . . . . eradicated our yearning for a fight.  In our future history we will always be found ready, but never again anxious."

I have been moved to grief over these accounts of Americans killing other Americans, and the cacophony of death seems to ring deep in my soul, like brutal .  It makes me want to visit the battlefield--and mourn.  I wonder if I can complete Hennessy's book--I've only got around one hundred pages left--but I know I will.  But more death is waiting.  Longstreet's division is moving for the final devastating charge against Pope's left flank.  Soon his army will be swept from the field, leaving only the dead and dying in the thousands covering the ground.  Quiet.  A brief respite.  Then, three weeks from now, armies will clash again near a stream in western Maryland on an even bloodier day.     

Saturday, August 25, 2012

Rain

We've been waiting a long time for this here in northwestern Missouri:  rain.  It started early this morning and has continued for six hours, by my reckoning:  a steady, drenching rain.  I can almost see the grass in the back yard turning from a scorched tan to green, almost hear the roots sucking up the water.  There's much ground moisture to make up, but this is a good start.  Here's the view of our back deck a few minutes ago:


Wednesday, August 22, 2012

Two New Drawings

In the past several days I've framed two drawings done this past summer.  The first is one in graphite based on a Rembrandt painting of St. Paul.  I did it for practice and thought it came out better than expected:


The second is a pastel of what I imagine is a Parisian woman beckoning me back to Paris.  It started out as a copy of a drawing by Monet, but things went a little sideways with the face.  Still, I still like way it finished.  The eyes are a little big, but it all seems to fit together somehow:


Monday, August 20, 2012

New Art

I recently completed an oil pastel of a flower bed in the Jarden des Tuileries, which is just west of the Louvre in Paris, very near where the old Tuileries Palace once stood.  The pastel is based on a photograph I took there in May.  I framed it this afternoon and it now hangs in our entryway.  Here it is:


Sunday, August 19, 2012

Understanding Fiction

These days--the last days of summer break--are work days, as I tune up syllabi, etc.  Today I was working on the reading list for my Understanding Fiction class, which is populated with short stories and two longer works:  The Death of Ivan Ilyich by Tolstoy and The Metamorphosis by Kafka.  I use a fairly consistent list of stories for this course, which I teach every couple of years, but change out a few of them for variety.  It's a first-rate line-up, including Sandra Cisneros, Toni Bambara, D. H. Lawrence, Amy Tan, Ralph Ellison, Sherman Alexie, Flannery O'Connor, Tim O'Brien, Gabriel Garcia Marquez, Ha Jin, Margaret Atwood, Isabel Allende, Nathaniel Hawthorne, Edgar Allen Poe, Ernest Hemingway, Bobby Ann Mason, William Faulkner, and Raymond Carver. I teach novels in other courses, but the short story always seems to work best in courses like this, mainly because it's a compact form that includes all of the basic elements of fiction and each story can usually be covered in one class period.  I also like the variety of voices in the stories over one semester, and I like the windows they open into the human condition.  Last time I taught this one of my students characterized the course as a kind of "psychology of literature" because we spent so much time talking about what motivated the characters, which is the central question in fiction I believe.