Andrew Wyeth: Portrait Drawings

Photograph Dale DiMauro

Last summer when my wife and I were at the Farnsworth Art Museum in Rockland, Maine, there was an exhibit of Andrew Wyeth drawings. These are the kinds of things you do not see exhibited next to his finished watercolors or egg tempera paintings in a typical gallery setting.

When viewed in the gallery you discover how large some of these drawings actually are. Many are the size of a large painting while others are the size of a typical sketchbook. 

Andrew Wyeth had such precision in his portrait studies yet there are atmospheric qualities conveyed through his pencil. When viewing these portrait drawings I do not see lines conveying the facial features but a range of values depicting the contours of the head. This last statement I find extraordinary.

In essence, to draw the face an artist usually learns the reference points of the head from where the eyes are set in the face to where the nose is placed etc. However, while utilizing these reference points as a general rule he seemed to depict the facial features through the shadows they cast or the source and direction the light conveyed. I come back to this notion again and again when drawing and painting.

Brattleboro Retreat Woods

(C) 2018 Dale DiMauro

Late in the week I was fortunate to join an art group in Newfane, Vermont. With this group I did some more work on this winter scene, primarily the trees in the background. The thinner tree in the foreground had masking fluid applied early on, high up on the trunk. This was removed then. Raw sienna was added to the same trunk to exaggerate the contrast with the snow.

Overall, I like how this picture has come together. Originally, I was struck by the stunning light on the snow, when I came upon this scene, in the middle of the woods. I pre-stained the paper with a yellow pigment before I truly started painting. This area with the warm glow has the least amount of paint on it.

After meeting with this group, which I figured was about half way to Grafton,VT, I went cross-country skiing in some of the best conditions of this winter season.

LEONARDO DA VINCI

Photographs Dale DiMauro

Last month I finished reading LEONARDO DA VINCI by Walter Isaacson. This is the best written book I have ever read about Leonardo. It is thoroughly researched with compelling diagnosis of his major projects and awe-inspiring.

The author discloses that 7,200 pages of Leonardo's notes and drawings amazingly survive to date, four hundred plus years, since they were recorded. Isaacson discloses that this likely represents one quarter of what Leonardo actually produced. These very drawings inspired me to dust off my fountain pen and put it to use. 

One of the emphasis of the book is Leonardo's endless curiosity with careful study and an active imagination. The reader gets the sense that by the time Leonardo finished his paintings or at least the ones he completed, his fertile mind and knowledge were leaps and bounds from the approach he had when he first sat down to start the painting.

I cannot do justice to the new discoveries about his life and work revealed in this book. After all the book is over five hundred pages long. However, there is one chapter in particular that I found fascinating above all others. 

In 1998 a drawing of a young women in profile came on the market and was then found in a gallery in Manhattan. After much research using modern technology and art experts across several continents it is attributed to Leonardo. The chapter goes on to trace the journey to identify the creator and it's existence since its creation. Research like this make the book a fascinating read.

Late Winter Light

(C) 2018 Dale DiMauro

At this of the year, late in the day, if the sun is out, the light can be magical. This glow can be striking. However, it does not last long. It can transform the landscape, though. 

I am not trying to imply that I captured this light, but it certainly is inspiring. Even though there does not seem to be a lot of color in the landscape, at this time of year, the colors often become intensified.

On my palette I occasionally use this electric blue called manganese blue. I have only observed this blue in the landscape around this time year, after a fresh snowfall. The extended length of day combined with the fluctuation of temperatures seem to make me aware of this atmospheric quality. Manganese in a watercolor painting energizes the landscape. It becomes a focal point even though it is often on the edge of shadows.

Retreat Woods

(C) 2018 Dale DiMauro

This watercolor is inspired by a snowshoe through the Brattleboro Retreat woods in late January. I was struck by the warmth of the light on the snow and the bark of the nearby trees. There is this quality etched in my memory of the glow from the sun at a point in time like no other. In contrast, the background of woods has a cool yet preserved quality to them.

I started this picture before my wife and I went on a trip to Washington, D.C., last week. In my mind this watercolor was moving along nicely. However, right now I am little stalled with it's progress as I come back to it. Part of the issue is that most of the winter-like qualities that stir in my mind had begun to disappear as much of the snow around here has shrunk.

There is more to do to get this picture to where I would like it to be. However, when it comes to depicting nature I try to be true to the source. The spatial patterns and colorations I cannot make up or at least, I try to learn from, being outside in nature.

Official portrait of President Barack Obama

2018 Photograph Dale DiMauro

Last month, the official presidential portrait of Barack Obama was unveiled at the National Portrait Gallery, in Washington, D.C. Mr. Barack Obama, the first african american president, selected Kehinde Wiley, the first african american artist, to portray an official presidential likeness. 

Last week while my wife and and I were visiting with relatives in the Washington D.C. area, we visited the Portrait Gallery to see this painting. I was struck by the strong use of color in contrast to the older portraits in the gallery and the prominence the background plays. 

Certainly not a watercolor but a well-composed painting. There is a seriousness of posture and expression depicted by the president, yet a relaxed quality as he is not wearing a formal tie.

There is much flower meaning attached to President Obama's life. The African blue lilies I understand represent Kenya, his father's birthplace while jasmine stands for Hawaii where Obama was born. Chrysanthemums are the official flower of Chicago, where the president's political career began and the place where he met his wife, Michele.

Fresh tracks(advanced stage)

(C) 2018 Dale DiMauro

Since the last post I did some more work on this picture. How to approach the trees in the foreground on the left was the one truly challenging area. I like how the sky can be seen through the trees yet it can make them look hollow. I do lean towards the blue-green coloring in my evergreens which look good against the snow.

The snow had a little more work done to better develop the contours of the land. Recently, I have been adding red to my blue for the sky which offers greater variety and gives one the idea that the clouds have started to clear out.

As a side note, I will not have a post this Wednesday, which is unusual. I will be traveling to Washington D.C. and limited to what I can carry with me.

Fresh tracks

(C) 2018 Dale DiMauro

These days I begin a studio painting with a specific approach. Lately, I tone the paper before I really start painting. In this watercolor which I am beginning to become excited about, a wet wash of cobalt blue was applied across the whole sheet. This way I can go cooler as needed for both the snow and sky. Yet, I can also introduce some warm color, in the sun, for example, if needed.

What attracted me to this scene is how the shadows draw the viewer right into the picture with such a rich blue. The other appealing quality is the shrubby undergrowth on the left in contrast to the blue-green evergreen massing.

I was looking to perhaps finish this painting today. However, the weather was so uncharacteristically mild that I had to get outside. Actually, I did paint a plein air while I was in Keene in the afternoon.

Digging out

(C) 2018 Dale DiMauro

This watercolor pretty much describes what the winter was like in early January, at least in southern Vermont. A weather reporter in the New England area mentioned we had around twenty days of temperatures which did not go above freezing. The bitter cold and low sunlight comes across clear in this picture with many blues and grays from the palette.

However, I love to paint snow. The fresh blanket of snow gives the landscape a new perspective. Otherwise, the ground is dark in winter. I like the distant tangled shrub border with it's irregular massing adding an element of mystery.

I am increasingly intrigued by the atmospheric qualities one can convey in watercolor. Whether it is achieved through various techniques such as misting or the use of color, there is a rich variety of moods an artist can convey unlike any other medium.

Figure drawings

(C) 2018 Dale DiMauro

This figure has worked it's way into the painting of my last post. I have learned once a figure is in a picture they become the focal point. Thus, the figure needs to be depicted accurately. However, if set alone in the landscape the posture of an individual can speak volumes.

This winter I have learned much about the proportions of the human body so I can better sketch the figure, at any scale. There certainly is much to learn but I feel that progress is being made. I have even  taken out my fountain pen which has not been in use for years. The idea is to take advantage of any chance I get to sketch the human anatomy.

There are certain landmarks of the human body which artists have used for centuries. For example, the pubic bone is considered the half way mark in the height of an individual. It is one thing to layout a drawing of the figure based on human anatomy but then to sketch them in winter clothing adds even more of a challenge.

Across the Field

(C) 2018 Dale DiMauro

If watercolor is the medium for capturing atmospheric affects, I feel like this one has a good start. In this image I love the feel of fresh snow, strong shadows and the sense of crisp air.

This local field I like to walk through all times of the year. However, I added this figure to give the picture a sense of scale and a focal point. The snow in the foreground had all these marks in it including cross country ski marks

Applying cobalt and manganese blue for the snow in the shadows was fun.

Winter of discontent.......

(C) 2018 Dale DiMauro

This winter with the early extreme cold weather and the dwindling snow accumulations has left me less inspired to paint snow scenes. Not to mention all the ice underfoot. 

As I walk into town I relish the fresh snow accumulations draped over the old homes and landscape in my neighborhood. The patterns of snow and late winter light really light a bulb in my imagination.

With this kind of winter I have chosen to improve my portrait studies and attain a greater knowledge of the proportions of the human figure. Many people have responded to my portrait studies which suggests they recognize the figure at hand. This drawing in my sketchbook, my wife recognized as a self-portrait even though only half the face is depicted. As a result, I am encouraged and inspired to make great progress in capturing the human body by spring.

However, I am looking forward to painting more landscapes. As a matter of fact I have ideas for some bigger paintings. When the weather becomes more agreeable I will be eager to paint outside again with some new gear I got at Christmas.

Approaching the mouth

(C) 2018 Dale DiMauro

Painting the mouth is a challenge. Even drawing the mouth can make one hesitant.
One of the questions an artist is confronted with is whether they want to draw attention to the mouth. However, much of our expression is communicated through the area of the mouth. 

In the past I have been advised to keep the mouth simple by including a few of the more prominent teeth and playing up the dark corners which are usually in the shadows and reflect the dental arch.

This painting was toned with a mint green wash before I started the face, reflecting the leafy green canopy cast over the figure. This picture to date has been done in one sitting. Without the mouth completed it probably looks a bit cartoonish. In the process of finishing the face I think it will be best to slightly correct the angle of the mouth. What do you think? 

For the past two weeks I have been reading this book, LEONARDO DA VINCI by Walter Isaacson, which has changed how I view the human face. Since I have not finished the book I do not want to comment on any juicy revelations as there may be significant developments unearthed, yet.

Little Landscapes

(C) 2018 Dale DiMauro

This little landscape is one of those quick little paintings that I love to work on. These are experimental with different pigments dropped in without much fuzzing around. On these paintings I do not even lay out the framework in pencil, it is all done with the brush. There are times when an incomplete wash is more effective with dry brush effects.

These watercolors I approach with plein air techniques while done in the studio. The paper is pre-wet with a water bottle, while tilting the paper, I manipulate the pigment to run as I see fit.

This scene is a short walk from our house, on Brattleboro Retreat property. The sky and shadow patterns are usually quite captivating, yet dramatic in scale.

Self-portrait

(C) 2017 Dale DiMauro

This watercolor was started as a study of my face and hands for a larger composition. Originally, I sought to grab a sheet of watercolor paper and start developing the face so that it had dimension. I was not necessarily looking to develop this watercolor into a completed painting. However, I am inspired to carry it farther. There is a lot of peacock blue in this painting which seems to complement the skin tone. In my hands I am opening a small chip bag.

Since the New Year I have been studying human anatomy and filling up sketchbooks with drawings  of the body, with it's various proportions. To convey some of the numerous postures of people and the body in motion is an exciting development, which will hopefully, enrich my paintings.

The photograph did not come out as intended. Perhaps, tomorrow during the daylight hours I will post an upgraded photograph. In the meantime I may do more on the painting.

Drawing the Face......

(C) 2018 Dale DiMauro

Since the New Year I have been reading all sorts of books on anatomy and the proportions of the human body. I feel like I have made real progress for the most part, even though there is a ways to go. By spring I hope to make significant strides in portraying the body and it's various postures. However, on occasion, I struggle on a drawing with this the most recent example.

Capturing an individuals likeness is not easy, even though it is not necessarily hard, either. 
I started this drawing of my wife from a photograph taken several years ago. The frontal viewpoint nearly tells you it was taken from a photograph. 

Basically, I wanted to sketch her face so I could quickly move on to a watercolor. However, I feel like it does not truly look like her. When I stepped away and looked at the photograph it really was not off in any significant way. In person, her face is a little more full than depicted and the glasses cover her high cheek bones further down the face. Her expression is genuine. 

Oh, but to add color and atmosphere makes the face come to life.

Digging Out

(C) 2018 Dale DiMauro

The early stages of this watercolor summarize the kind of winter we have had so far in Vermont. Extreme cold followed by lingering snow accumulations. With these cold temperatures, snow has adhered to our car tires, making the roads slippery on numerous occasions. When the sun does come out, our solar panels often deposit snow in our front yard.

Nevertheless, it has been great to get outside and enjoy the winter. I have enjoyed cross country skiing, snowshoeing and ice hockey.

This painting does not have much color in it. However, it has a lot of (cold) temperature in it with the varying degrees of blue. My palette has more kinds of blues than any other color. Not all the blues are cold. Some occupy the warmer range. Yet, if there is a color to describe this winter, blue would be it.

Brattleboro Retreat Ice Pond

(C) 2017 Dale DiMauro

Prior to working on a watercolor I often paint a study as a warm-up exercise. This way I can try out new techniques or experiment with different pigments and on occasion even try a new kind of paper. 

I have been longing to paint on Arches 300lb hot press since ordering a five pack recently.  Normally I use either Arches or Saunders watercolor paper, but in the cold press version, which has some texture but is not rough. There are a variety of techniques an artist can achieve to great effect in these varying surfaces. This hot press surface is smooth as one can imagine, but I like how one can drop in pigment along the way once the paper is wet and push it around or lift the sheet and easily direct the pigment.

The other good thing about working on a study in watercolor is that you just get paint down without thinking too much. In my mind I usually have already considered the approach I would like to tackle on a given picture. This way you don't labor too much while being flexible along the way. Sometimes a happy accident ends up working it's way into a painting, which if you are open to, can be a good thing.

Jordan Pond

(C) 2018 Dale DiMauro

This watercolor was inspired from a hike around Jordan Pond, on Mount Desert Island, this past summer, in Maine. My wife and I weren't the only ones on the loop trail which includes board walks, foot bridges and raised planks. All the scenery is quite lovely, but the quiet inlets with rocks peering above the water and embedded in the shoreline are quite striking. I particularly, was taken by the soft shadows and layers of green growth.

This scene is painted on 300 lb watercolor paper, which many artists consider thick. After soaking the sheet early on, it would not lay flat so I decided to turn it over and soaked the back with water. While the paper was still wet I put empty jars on it so it would dry flat. This technique worked so well that I am considering pre-wetting both sides in advance of future paintings.

In hindsight, I like the earthy brown tones in the foreground with the splash of red off the shoreline in contrast to the cool background colors.

Postage-sized sketches

(C) 2017 Dale DiMauro

Since we had this extreme cold recently, at least in Vermont, I keep thinking about painting a summer scene to warm things up. Last summer while paddling my kayak I took a photograph of a small sailboat moored off the shore.  

These small sketches are quick little doodles. They are the result of searching for alternative compositions to develop into a painting. They lack clarity as I have yet, been unable, to arrive at a singular composition.

However, I have become intrigued or even obsessed with tweaking the shoreline so as it will not compete visually with the focal point, which is the sail boat. One of my ideas is to push the foliage back on the left side of the boat which will make the boat more visible, strengthened with it's shadow. Behind the boat on the left there is a beach which I may enhance, with a sand bar arcing out towards the water. Or maybe I will be inclined to go in another direction.

 I do like the vertical orientation of the boat on the page in a likewise format.