After Greek Statue of a Boy Wrestling a Goose

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This drawing, which measures about 5.5." x 7.5", was

drawn entirely with a blending stump charged

with graphite powder on a piece of gessoed watercolor paper.

I have always been inspired to draw by ancient works, as

you must know if you are familiar at all with my blog. But

I've always had a particular fondness for this statue. In

this drawing the goose is given a very perfuntory render-

ing so you cannot really see him, but the sinous lines of

the statue's design still come through, I think.

I did do a large green pastel drawing of this same work, but I
was never satisfied with it. In that work the goose was quite
realistically rendered, but I wasn't happy with the boy...
oh well, it's always something.

I'm so excited! I just purchased a set of an entirely new
type of acrylics, called Interactive. They are made in
Australia, and have quite revolutionary characteristics
for acrylics. More about that later. I can't wait to use
them!

Thanks for visiting today.

Watercolor Monotype of Aphrodite Removing a Thorn from her Foot (after a Greek statue c. 300 BCE)

NFS
This very small image is one of my favorite

things. It is a watercolor monotype.

There are several ways of making these. This

one was made by taking a piece of frosted Mylar,

and adhering it with some Studio-Tac to a thin

acetate printing plate.

Then I created the image with a combination of

water-soluble Caran d'Ache crayons, and Prang

watercolors.

Notice that there is a red line drawn around the

image. This is to create a barrier that will keep

any paint from oozing out into the margins

of the printing paper and spoiling the image.

This image is just about 10% larger than it

is in real life.

Thanks for visiting today.

Pastel Drawing of a Tree after one in a Medieval Painting

NFS
This is an odd reproduction of this picture. It is actually much

more colorful than this. Perhaps it is because I scanned it.

The paper I drew it on was Sennelier gray pastel paper, which

had quite a heavy texture - this is hardly noticeable in real

life. Anyway, the blues don't come through as they should.

This is a tree that has always caught my attention in a small

painting in the Medieval to Early Renaissance section in the

National Gallery in Washington, which I am lucky to say is

only about twenty minutes from where I live. Unfortunately,

I never wrote down the name of the artist, but I do remember

that it is a depiction of the devil (with very large, nasty horns,

but dressed for some unexplained reason, like a Franciscan)

tempting Christ in the wilderness. An odd picture, but the

tree is sublime.

Thanks for visitng today.

PS - I fell off of my bicycle and injured both of my arms, so

it will be a few more days before we see anything really

NEW here. Please have patience.

After a Donatello TerraCotta Bust of Niccolo da Vezzano, ca. 1430

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This is a gouache and gold paint (you can't see the gold paint in

this photo) study from a picture of a terra cotta bust of Niccolo

do Vezzano, ca. 1430. Niccolo must have been a Franciscan Monk,

judging from his dress. But what drew me to his image was his

soulful, kind face, and the wonderful shapes in his habit, that

inspired in me some loose line work with a brush of which I have

to admit I am very proud. It is impossible to really reproduce this

image, unfortunately. There are delicate pinks and blues in it,

particularly in the margins, that just don't come across in the

reproduction. There is a gold line around the image which glitters

in the light , and adds a slight sacred touch.