pLog Pith X
Where Velázquez is Grace, Caravaggio is Guts. Where Velázquez is Economy, Caravaggio is Ambiguity.
Entries by tja
“Du sollst werden, der du bist”
—Nietzsche Many thanks to Charles for his gracious hospitality and inspiring exuberance. (And thank you, Venchi, for what may be the best gelato ever.)
The Nerdrum Museum
A comprehensive collection and an exquisite presentation, showing full paintings and details. My compliments to the website architects! Launched April 8th, 2012. Visit The Nerdrum Museum
Cleopatra
The first modestly large, layered-with-subtext, multi-figure painting was completed in the new studio on March 9th, 2012. I am very pleased. Finally.
pLog Pith IX
First, find the structure, then find the skin. And never underestimate the power and beauty of a one inch wide hog bristle brush. —pre-dishwashing thoughts after a long rewarding day in the studio.
La Sfida della Semplicita’
Tonight Giulia and I were admiring and discussing what I think is the nearly completed first great painting forged in the new studio. I said to her: It’s the unexpected simplicity in this painting that I like so much—it’s the most from the least—made of simple improvisations I could have never planned. That’s the trick […]
Helpful Video on Photographing Artwork
A video that a friend passed on to me about a year ago. Still helpful.
My Notes on “Notes on the Science of Picture Making”
Annotation Summary for: Notes on the Science of Picture Making by C. J. Holmes published in 1920.
“A Figurative Painter, Literally Speaking”
A time-elapsed evolution of a recent painting, “Knight in an Evening Landscape.”
Where is Odd Nerdrum?
A presentation that is rightly partisan and begs the question: what is the real motive behind the Norwegian government’s prosecution?
Notes on Neo-Megilp
The Sunken Color of Discontent… and how to remedy the problem. Can a change of medium solve this… or is “oiling out” inevitable?
“Oiling Out”
It looks like some learned practical instruction is finally making its way on to YouTube. The trick is finding them. Surprisingly, the keywords “oiling out” produced some interesting results:
Glazing ≠ Luminosity
The truth is: keying up a flesh tone with a near-white color and then glazing over that with a transparent dark (like a raw umber) does not charge the image with an electric-like glow. Instead, the glaze dampens the luminosity and shifts the hue. How strange I thought the contrary to be true. A lapsus? […]
The Holy Grail of Flesh Tones, Part II: Velazquez
A funny thing happened the other day as I was googling through the web universe in search of greater enlightenment on flesh tones…
Odd Nerdrum’s Ground
I just had a conversation with my Maestro about this tonight… though I have managed to concoct my own “Italian version” of the ground, you can read a super explanation of the actual materials used here on Art Babel.
Scumbles on Shadows and Theories of Relativity
Knowledge or skill is much more easily acquired if one has a definite use for it. —Charles H. Woodbury, N.A. from Painting and the Personal Equation, published in 1919.
The Holy Grail for Painting Flesh Tones
Such a pronouncement isn’t just cause for a zealous quest, but is reason enough to headily believe that such a thing even exists.
pLog Pith VIII
A few words now about technique, so that there may be no misunderstanding as to its importance. It is a poor thing that cannot be abused, and I do not want you to be afraid of the word, or to surround it with mystery.
Why Your Paint and Medium Sometimes Doesn’t Stick: The Beading on Your Canvas and How to Fix It
Yes, I promise, I’m really going to give you the solution. So, for all of this fuss about paint or medium acting like “beads on a duck’s back,” it turns out the duck knew why all along. So did Max Doerner. Which is a good thing, because if it had been left to my powers […]
The Library of Velazquez
Often before I leave on a trip I print and assemble a packet of articles to read along the way. In the Summer of 2010 I collected a series of essays and investigations on Velazquez. These included: “Sargent after Velazquez” by Richard Ormond and Mary Pixley pulished in The Burlington Magazine in September of 2003; […]
Titian: His Colors and Technique
My friend and colleague, the Classicist Paul Gwynne, called my attention to this documentary just a couple of weeks ago: he had it on VHS, but I would have to wait to see it. Not known for my patience, I immediately searched YouTube… but didn’t find anything. Well, nothing can cure mediocre research skills like […]
“The Power of Mathematics”
And I have to say, underlying everything that we’re talking about, in fact underlying everything I do with my entire life, pretty much, is a firm belief that mathematics is a sure-footed guide to how reality works. If that’s wrong, then all bets are off. –Brian Greene, Physicist, from a fascinating interview with Terry Gross […]
Sedulous Indulgence and Instruction from Carolus-Duran
Book notes on A Manual of Oil Painting by the Hon. John Collier published in 1887
The Secret of the Old Masters
This life work was more or less an injury and loss to me in many ways. —Albert Abendschein, author of The Secret of the Old Masters, published in 1909 As such, I wouldn’t dare be the one to spoil Mr. Abendshein’s efforts by readily revealing the “secret.” It’s actually a fascinating read: the author spends […]
pLog Pith VII
Why is it that those so quick to believe man-made absurdities are the first to deny Nature’s rich mysteries?
A Dose of Speed Does the Body Good
The business of the artist is to see to it that his talent be so developed that he may prove a fit instrument for the expression of whatever it may be given him to express. Great things are only done in art when the creative instinct of the artist has a well-organized executive faculty at […]
“Reconsidered, a Met Velázquez Is Vindicated”
Article in the New York Times…
“It’s Better than Television”
– Steve Martin, speaking about artwork, in a recent interview with the New York Times.
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