There are two parts of my deliberate practice program - architecture and figure drawing. I posted Big Ben last week after I painted it without any pre-drawing. Today I am posting my first figure drawn directly with my brush and watercolor. I used a photo in the book The Nude Figure by Mark Edward Smith.
Will I be brave enough to draw with my paintbrush when I'm sketching live models?
By chance, I went to the Society of Illustrators Sketch Night during Illustrators Week in New York City and many illustrators posed (clothed) with the models. They were not introduced, so I have no idea who they were.
Drawings 4 and 5 of 10 Two Minute Poses
Drawing 4 of 4 Five Minute Poses - An Illustrator
Drawing 1 of 2 Ten Minute Poses
Drawing 2 of 2 Twenty Minute Poses: Two Models and an Illustrator (who is sitting on a stool)
My watercolor paper is to big for my scanner and I haven't figured out how to photograph the pages without the blue-gray background. Even Photoshop can't completely corrct it.
When Raena (from Every Day Matters Yahoo Group) and I met for the second time at the Quilt Festival in Houston, we took a few minutes to draw art dolls, as we did last year. These dolls are probably 20-24 inches and are AMAZING! We each chose one to draw, and then I sketched a second one while Raena looked at the whole exhibit.
This is my first journal page - note the little bird on the woman's hand. It is called "Fine Feathered Friend and was made by Nancie Roach.
I sketched the same doll as Raena for my second journal page - a fabulous doll entitled "Leo Was Allergic to Dogs" by Neva Waldt.
Here are photos that I took of the Dolls so I could remember the colors for painting them at home. I thought you might enjoy seeing them.
"Fine Feathered Friends" by Nancie Roach.
"Leo Was Allergic to Dogs" by Neva Waldt.
Our Journal Study Group, minus Teri, went to the preview of the new Islamic Art Galleries at the Met this week. Wow! The space was closed in 2003 for renovation and they even brought in artisans from Fez, Morocco to create special architectural decorations. There are 15 galleries full of amazing art - beautifully arranged. At the end of our walk through all 15 galleries, we split up and each went to sketch one thing - meeting 30 minutes later to share our sketchbooks and go to lunch.
I sketched 5 very small (3 inches high or less), wonderfully decorated cosmetic flasks which were used to hold Kohl powder. The notes said that the powder was picked up with a small brush inserted through the tiny hole on the top. They were made in the 10th-12th C in Iran or Central Asia. I put the shapes of a gorgeous vase and an ewer behind them to add some scale and contrast.
After lunch we went to "Stieglitz and his Artists: Matisse to O'Keefe" This was his personal art collection - much of it from artists he supported in the early part of the 20th C.. It was my second visit to this exhibit and I'm sure not my last.
Alfred Stieglitz introduced America to Matisse and Picasso through shows at his gallery "291." Both artists were later exhibited in the famous 1913 Armory Show (International Exhibition of Modern Art) which was a landmark exhibition. These drawings from 291 were donated to the Met and were among the first pieces by either artist in the Met's collection.
The first time I went, I sketched an early Matisse drawing in order to learn more about his "lines." It is called "Nude With Bracelets" (1909). 
During the second visit I sketched another Matisse nude and a very small Picasso drawing done on ledger paper. I was able to link to the originals from the Met's Collection.
Matisse Reclining Nude (1907) and Picasso Study of a Harlequin (1904-5 to show the originals)
My husband and I are taking a course at Columbia about Art vs Culture. It is a small discussion class at the Heyman Center and the first text that we read was The Two Cultures - a transcription of the 1959 lecture at Cambridge by CP Snow. The "artists" were the great writers of the time and the scientists were in the hard sciences - physics, chemistry, and mathematics. The premise was that these cultures were so different, that artists and scientists could not communicate with each other.
This past week we began class by reading Genesis 3 to reflect on the tree of life and tree of knowledge and then went on to consider 4 discussions between artists and scientists. Scientists are making rapid technological advances ( like cloning), but are the "artists" capable of understanding and discussing the possible perils of these discoveries, thus beginning a dialogue about good and evil inherent in them? Can they be translators for the society at large.
Just because we can DO something, should we DO it?
I doodle to keep my mind on the discussion - and here is my tree of knowledge and two classmates - all scribbled on the back of a handout with ball point pen.
