By the way, the lecturer's amused reaction to the 150 artworks was 'very nice'. Was he envious? His own artworks are of the socalled 'informal' sort, and a colleague of his confided in me that that lecturer knew he couldn't paint, but had solved the issue his way. He is an art professor, so he should know......shouldn't he?
|figures and dog before the sun|
|unfinished surface treatment - the sun is still too big!|
The Miró isn't my first attempt to copy. I made a copy (= version) of the hands on the Sistene Chapel ceiling a few years ago (no, I didn't go there to do it). My depiction is actually larger than the original and I did two small studies in acrylics before the final painting! As you can see, in the photo it's drying off on the piano.
|the hands from the 'creation' mural - 65x180cm oils on canvas|
|apologies to Renoir (dry pastel on coloured paper 50x70cm)|
|apologies to Cassatt (dry pastel on colourd paper 50x70cm)|
|apologies to Gainsborough (dry pastel on coloured paper 50x70cm)|
|apologies to Modigliani (dire pastel on coloured paper 50x70cm)|
"Do artists cheat? A bus ticket was the nearest we got to it in my art school days. The secret from the
Can artists cheat? That is a deeper question at the heart of David Hockney's pictorial detective story. His book is subtitled 'Rediscovering the lost techniques of the Old Masters' to whom he ascribes grander methods of self help involving much juggling with lenses and mirrors and darkened rooms. He extends his list of optically assisted practitioners way beyond the usual suspects like Vermeer and Canaletto to encompass virtually the entire pantheon of painting. He is however at pains to point out that such techniques were not responsible for the quality of the work; "optics do not make marks, only the artist's hand can do that and optics don't make drawing any easier either."
The old masters were masters of deception, too, but aren't we all?
P.S. During that infamous workshop we were shown film of Pollock throwing paint and the famous Malevich black square, which the lecturer claimed was the greatest painting of all time. It so happens that I had recently viewed the original, modest black square in a show in Berlin of works borrowed from the MoMA while the gallery was being revamped. Around it was a large group of people and the guide was explaining what was actually behind the black. I moved on, chastened that I hadn't thought of it first. It took a guy who made installations with an aritificial rooster crowing on a pile of what looked like excrements with a background of an immense, green and yellow splodged canvas claiming to be a forest and a lot of self-carpented bird houses arranged tastefully on the ground round the pile, plus a lot of improbable birdsong tweeting through speakers to tell me which is the greatest painting of all time.......