Great drawings and even greater landscape paintings.
Koto- at the top, eh? MY GOD ITS FULL OF BRUSHSTROKES aww, cheers, but after seeing the Sotheby's viewing, we all still have a loong way to go before the top
Traumadore- thanks, the armours and the architecture are sketched from life
JamesSimons- thank you
ryanoir- certainly- http://underpaintings.blogspot.com/2...iv-poster.html
obier- thank you
some tube sketches for a change of style
The faces, such smooth and interesting lines. Fine work indeed.
You need to post that malls portrait
lens flare renaissance
Koto- yep, will get a photo of it next post
Last few landscape studies and some more pen drawings, will comment later
Landscape studies have some great light in them, love the temperature contrasts in them.
lens flare renaissance
Parsakoira- cheers mate!
Koto- the colours... it's so intense!
flurry- MULTI-PEN?! WHAT DOES IT ALL MEAN??? (nope, sadly)
some older block-ins from waaay back... pencil sketches and portrait alla prima's for koto
Really powerful sketchbook! It's always impressive to see such amount of work put into sketches.
skMOP- thanks for the kind comment trust me, up close it looks kinda messy, not smooth at all =p
MattGamer- cheers mate!
Jaytea- thank you, expressing the most information using the least amount of steps is one of the most difficult, but also most rewarding ways of learning
flurry- aww, i remember that yeah, ill try and get a series of the Mallz paintingz up soon
jhowell- thank you, sketches seem to be mostly what i do nowadays =p I gotta start on more concepts and finished work soon!
Loathsome- thank you for the comment
"The more I saw and talked with the exceptionally amiable, modest, meditative and kind-hearted Levitan, the more I looked at his deeply lyrical landscapes, the better I came to understand and appreciate...intense feeling and true poetry in art. I realised that you don't have to copy objects and diligently prettify them with colour to make them look as effective as possible- that is not art. I realised that the most important thing in any art is feeling and soul- they are that very word with which the prophet was commanded to fire in the hearts of men. And I came to understand that the word can in the same way be voiced by colour, by a line or a gesture as by a speech."
Fiodorov-DavyDov, A. (1980) Introduction. In: Levitan. Russia: Aurora Art Publishers
From top to bottom:
1. Portrait study, a redo of the BP portrait failure
2. recent plein air studies, thanks tehmeh and flurry for the landscape painting sessions
3. Orientalist studies, pencil
4. Sketchbook drawings
Love the the way you make colours look so bright.
Ah ha, I recognize you now. I can put a face to the piccys ! Nice conversing with you in Oxford land (I'm Rich, the bald dude).
I'll have to pester you about this plein air business since I'm notorious at making a mess with oils.
Nice oils btw, lovely progress
thanks for the advice buddy,and showing me your awesome sketchbook in person
Never Attempt the Possible;attempt the impossible and even if you fail,you'll fall among the stars.
Call0ps- ah, those are from richmond park mate, deer and random swans not included!
Mitze- thanks, for most cases its the value structure that is more important to think about
Mr Man- ahah! it was nice to see everyone at oxford! and sorry for the looong lecture, haha
FootstepsBeckon- and it was good to see you as well, keep up with posting and with your drawing!
dU5K- awww ill post even more mediocre next time, promise!
Lightpunk- cheers mate!
tehmeh- aww, thanks- hope ya get well soon and finally get the tablet business sorted out
filler before the next batch of updates and art quotes
Parsakoira- thanks naw, i think you'll do just fine with oils, just takes time as with learning anything
“But the real artist will grow slowly, and will get the best out of himself only by degrees, as his experience tests his sentiment, as constant brooding over his tastes shows him what he himself likes, and increasing power of imagination teaches him to take advantage of his own skill and of the lessons of tradition that suit the expression of his personal view of nature. By so acting only can he escape pastiche and mere mannerism on the one hand, while he avoids, on the other, crude object-painting and timid, piecemeal realism.”
Armstrong, W. 'Sir Henry Raeburn'.(1901). London: William Heinemann. p.9
Several quick 2hr figure studies, and landscape studies