Amazing Painting by Belyukin.

From the Studios of Garin Baker
Carriage House Art Studios
July 27th 2011


I was recently hanging out with James Gurney who knows way to much for one individual but gratefully he turned me on to a wonderful blog site entitled "Inspirational Works of Art". (http://inspirationalartworks.blogspot.com/)  
where I came across this amazing painting.

"White Russia in Exile", by Dmitri Belyukin, 1994

Now you might think this is a early 20th century political propagandist painting and although it has tons of references to a sympathetic view of exiled Russians who were deposed after the Bolshevik Revolution of 1917 but it was completed in 1994 by Deitri Belyukin. 

What I found so amazing beyond the powerful subject was the composition and handling of such a complex scene of figures in an atmospheric setting. The inventive way the artist has used, without discernible obvious perspective solutions, the layered aspects of building groupings of figures moving into the distance that allow you eye to travel through the image experiencing the poses and characters in his human narrative. Looking closer as the figures recede into the mist during their morning commute, I am amazed how he uses a harmony of color and handling to capture this complex configuration. Not an easy task and aware to my core and knowing how difficult it is to compose something this layered and interesting. This artist in my opinion demonstrates the highest of abilities and skills that many including myself admire about contemporary realism.  This work has captivated me and raised my excitement towards doing work that is as well realized.

This inspirational blog site is chock full of works of all kinds and times and I urge anyone who's on their own personal quest never to be satisfied to search out works that shake you off you comfortable creative perch nudging you to go beyond what's popular in all our attempts at being "successful" and paint what excites you finding your own personal and compelling voice. 

Notes on Drawings #3

From the Studios of Garin Baker
Carriage House Art Studios
July 26th 2011

15 min pose "Sara" Vine charcoal on newsprint, Garin Baker, 2011

This technique is great fun and starts with applying vine charcoal over the entire surface of the newsprint paper. I like the rough marks the edges of the charcoal makes on the paper but some like to smooth it out with a gentile cloth rub.

3 min poses

Starting with the lighter lines beneath, when looking closely before the outside contour lines are drawn is the "gesture drawing" that I described in Notes on Drawings #2.  In addition the lighter area is pulled out using a clean kneaded eraser.  It's only then that the darker contour lines are discovered and applied when feeling the form and perceiving the edges, from the interior proportions outward using thick and thin variations reacting to the strength and turns of the form in the shadows side or against the light edges.

Repetition and an unsatisfied diligence is key towards developing over time and I recommend a figure drawing class or workshop at a minimum of 3 hrs a week as a priority.......... especially when our busy lives get in the way.

Underlying Gesture drawings. 1 min.

Again, a good gesture is key, that all else is built upon. If it's not right all the rendering in the world won't improve it.

2 mim poses

2 min

5 min   7 min

Standing pose, 20 min

This 20 min pose captures the gentile juxtaposition of the upper torso anchored with the weight on the leg in back with the front leg relaxed. This subtle pose capturing a real sense of volume and weight is worth pursuing in your studies. 

I hope that these "Notes on Drawings" have been helpful and although academic in nature and basic in delivery are some of the issues I've been offering in my drawing workshop over the past few weeks.

And over time I have seen real growth among several students willing to do the exercises and stumbling as we all do to find our own answers which inevitably present a list of new question.

No matter how frustrating and discouraging the task at hand.....  keep drawing from life.

The benchmark for which all else will improve!

Notes on Drawings #2

From the Studios of Garin Baker
Carriage House Art Studios
July 22nd 2011

"Temptress" B&W charcoal on Canson Paper, Garin Baker, 2008

The above 45 minute drawing in it's finished form shows none of the preliminary thought process and initial stages that are so important towards understanding proportions and getting the elements of the figure to fall into place and I thought I would in the following shorter pose image below highlight some of the unseen and preliminary thought processes from which all else is developed.

Drawing as a "Process of Subtraction":

I know this sounds reversed and for those of you who are seasoned draftspersons the clear perception of the whole as a conceptual beginning is key but lost among many students who focus on the resolved, finished or distorted qualities on the surface which are almost always built atop an unseen conceptual start.

2 min/ left       10 seconds/ right

The 10 second drawing on the right is that start. Many call this the "envelope" of form. And is so important as a conceptual beginning towards understanding correct proportions and building the skills necessary towards developing solid figure drawings.  Many students skip past or struggle to see how important this stage is and usually start with the head and attempt to construct a figure by adding a neck, shoulder, arms, torso, hips, legs and so on.  This being called, "Drawing as a Process of Addition". 

The 2 min drawing on the left is what's built on top on the first 10 seconds. depending on how much time you have will determine the lightness or darkness applied to your conceptual beginning realizing that we're playing chess here not checkers and anticipating where the drawing is going and the level of completeness or finished quality desired based on time alloted.

Many students having seen the amazing figure drawings by Egon Schiele and his purposeful distortion adding a tormented emotional quality to the work, miss the fact that he spent years diligently working to understand the human figure and how to manipulate it for effect.

Egon Schiele, "Self portrait with arms twisting above head".

Books on Egon Schiele:

Drawings & Watercolors

http://www.amazon.com/Egon-Schiele-Watercolors-Jane-Kallir/dp/0500511160/ref=sr_1_1?ie=UTF8&qid=1311435988&sr=8-1

Egon Schiele 1890-1918 (Paperback)

http://www.amazon.com/Egon-Schiele-1890-1918-Reinhard-Steiner/dp/3822863270/ref=sr_1_2?ie=UTF8&qid=1311436150&sr=8-2

Egon Shiele (Paperback)

http://www.amazon.com/Egon-Schiele-Erwin-Mitsch/dp/0714828629/ref=sr_1_4?ie=UTF8&qid=1311436349&sr=8-4

Good draftsmanship is not an accident formed by chance, it's accidents created through understanding, diligence and consistent practice.

Drawing and perceptions will continue, so check back for

"Notes on Drawing" #3.

Notes on Drawings #1

From the Studios of Garin Baker
Carriage House Art Studios
July 22nd 2011

"Ray" B&W Charcoal on Canson Paper, Garin Baker, 2011 

Over the last few weeks I've been doing a figure drawing class with a group of young art students.  Most quite talented and focused.  So I wanted to examine the basic underlying perceptions that many overlook when examining and appreciating the completed drawings of so many accomplished artist. 

Figure by Pierre-Paul Prud'hon. 

We all are amazed by drawings that capture a compelling quality and marvel at the finished look and resolved quality not appreciating the underlying nature a simple figure drawing was conceived with.

Correct Proportions, and how the importance of simple gesture notations and the underlying beginning stages are. 

Many accomplished artist who draw from life regularly are poor examples for students since their skills have been honed to a point where they can edit past many of these beginning stages. Students see their work and believe if they can begin rendering a portion of the figure it will come out looking like what they see and feel.

Please forgive my directness, but nothing can be further from the truth.  I have for many years witnessed thousands of these beautifully rendered shoulders and noses only to allow my eyes to travel across the rest of the drawing to see the most out of whack proportions and relationships of body parts.  Many of us don't spend the required and repetitious hours needed doing direct, simple gesture drawings.  Seeing the whole figure as one movement and the immediate perception of the full pose from head to toe, and all the extremities as one holistic shape. 

This is crucial and can not be stressed enough.  And until this perception becomes second nature to any young artists,  representational drawing will be seen as a process of addition rather than subtraction. 

My series on drawing and perceptions will continue, so check back for more examples and additional "Notes on Drawing" #2.

Suggested readings:

Drawing Lessons from the Great Masters: 45th Anniversary Edition

http://www.amazon.com/Drawing-Lessons-Great-Masters-Anniversary/dp/0823014010/ref=sr_1_1?s=books&ie=UTF8&qid=1311354338&sr=1-1

Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice 

http://www.amazon.com/Classical-Drawing-Atelier-Contemporary-Traditional/dp/0823006573/ref=sr_1_1?ie=UTF8&qid=1311356113&sr=8-1

Steven Assael: Selected Drawings

http://www.amazon.com/Steven-Assael-Selected-Drawings/dp/0967692717/ref=sr_1_2?s=books&ie=UTF8&qid=1311353073&sr=1-2

The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective On the Classical Tradition

http://www.amazon.com/Artists-Complete-Guide-Figure-Drawing/dp/0823003035/ref=pd_bxgy_b_img_b

Head Study Workshops
By Garin Baker
Announcements!
Carriage House Art Studios
July 14th 2011

"Portrait of Amy" Oil on Linen, 12"x16", Garin Baker, 2011

I'm beginning a series of "Head Study Workshops" at two Arts and Educational Centers begining this month and on into the Fall in The lower Hudson Valley of NY State.

"Tony", Oil on Linen, 9"x12, Garin Baker, 2011

 The First is being offered by The Wallkill River School located in Montgomery, NY run by Shawn Dell Joyce and her amazing staff of dedicated arts and environmental advocates.  She has cleverly merged a local arts movement with the area's farming community.  Creating an artist illustrated cook book featuring local artists, chiefs, growers and local farm markets.  Annually organizes plein air paint out events on the area's diminishing farm lands.  And continually raising awareness, creating local jobs, spending locally, eating locally and as a long term goal, building stronger, self sustaining communities.  All in addition to the regular arts classes and cooperative gallery space she manages at her Wallkill River School. Wow! 

And to top it all off,  Shawn and her Wallkill River School have just recently received a grant from the NEA for her continued work on local tourism and economic development.  

To support this wonderful organization and register for my Head Study Workshop 

contact: The Walkill River School,  phone # (845)457-2787
e-mail: wallkillriverschool@hvc.rr.com

"Male Head Study", Oil on Linen, 14"x18", Garin Baker, 2004

The Second of my continuing Head Study Workshop is being offered this Fall by Mill Street Loft of Poughkeepsie, NY.  The have recently partnered with Scenic Hudson renovating an amazing Old Red Barn space in Beacon, NY.  Scenic Hudson does amazing work, purchasing old vacant industrial lands along the banks of the Hudson River, restoring and preserving the beautiful vistas and offering it to the public for recreational use.  Great news for us Hudson River Plein Air Painters!  They have also created a new Arts and Educational space in an Old Red Barn that Mill Street loft now uses to create an array of new arts, cultural, gallery and educational opportunities.  Located directly across from the Metro North, Beacon Train Station and steps from Dia Beacon, this brand new cultural venue is now a shinning light for the Arts in The Lower Hudson Valley.

To support this wonderful organization and register for my Head Study Workshop 

contact: Mill Street Loft, Laurie Clark, Special Projects, (845)471-7477 ext 18 ,

e-mail: lclark@millstreetloft.org

or Register on on line @ http://millstreetloft.org/store/index.php?manufacturers_id=82&osCsid=5a6496df2c10c2c65c7fb4ef09a7a514

More Head Study examples by Garin Baker. 

Enjoy!

"Portrait of Bryan" Oil on Linen, 18"x 30", Garin Baker, 2011

"Sara" Study, Oil on Linen, 14"x 18", Garin Baker, 2011

"Shaheem" Oil on Linen, 14"x 18", Garin Baker, 2011

Detail, "Portrait of Larry", Oil on Linen, 12"x 16", Garin Baker, 2011

"Portrait of Michael" Oil on Linen, 12"x 16", Garin Baker, 2003

   

"Artist In His Studio"
By John Singer Sargent, 1903
Oil on canvas 28.5 x 28.25
From the Studios of Garin Baker
Carriage House Art Studios
July 12th 2011

Detail, "Artist in his Studio",  John Singer Sargent, 1903

This little gem is by one of our all time favorites, We all know the name, I'm sure! What has always inspired me about this painting is its pure simplicity. At last night open studio workshop where we have weekly models posing at Carriage House Art studios,  I try and set up a simple pose for 3 hrs with one direct light source attempting, as an exercise to capture in light, form and color a brief figure study and moment. What amazes me sometimes is the complexity we all try to add while the distractions and multiple confusions work their way into our paintings.  If we were to only see the simple masses of dark and light as well as the clear delineation of a cool or warm light vs and cool or warm shadow we would be able to follow through on immediate clear perceptions made in the first few seconds when the model assumes the pose.

When looking at the entire painting by Sargent we can see this very clearly.

One clear light source coming from an open unseen window to the left blankets the middle plain of the painting. Cool in cast with variations of warm shadows. Ok, lets not get confused. When Squinting our eyes (a great and wonderful tool which helps us to see the masses of darks vs lights) the shadows come together as large shapes as opposed to the light masses and shapes in the middle plain. What we all loose sight of in our own works is the "confusion of the grays" or middle tones and how they distract us from the overall impact and graphic nature of a fine work of art that can be read from across the room.  All those middle tones and colors bouncing around taking our attention and leading us astray. 

This painting by Sargent is for me a great lesson about what makes a great  work of art. 

With every stroke of paint, (not one waisted) he pulls together a compelling composition bringing us into the simple room and studio of an old seasoned artist, void of any accoutrements, powerful and purposeful with depth of meaning and form. This work has also inspired me to see my life with all it's complexities and problems as truly something simple to aspire to. "The work" of it all, and the passion to create in the studio, shedding all of life's "issues", for the moment........ 

Make more of them!

Max Ginsburgh Retrospective
Realism with an uncompromising voice.
News release from the Studios of Garin Baker.
Carriage House Art Studios
July 8th 2011

Foreclosure     oil     40" x 65"

I first met Max Ginsburgh as a high school student at the High School of Art & Design in NYC back in the mid 1970's.  He and Irwin Greenberg were traditional realist painters that found themselves teaching a bunch of raggedy haired kids from across the five boroughs of New york City.  Maybe the art world and galleries, at the time had little use for these brilliantly talented individuals but we as young artists couldn't get enough of their uncompromising skills, humorous stories subtilely teaching life's great lessons and amazingly generous warm sensibilities.  No exaggeration intended, but in my opinion, along with others like Dinnerstein, Silverman, Shanks, Schmid, spawned much of the strength of the young contemporary representational movement we are experiencing today.

Crossroads     26" x 40"     oil     2008

As Peter Trippi writes in the July/August article in Fine Art Connoisseur magazine,

"Its always a pleasure to celebrate an artist's achievements while he or she still moves among us, and this is especially true for those realist who spend much of the 20th century ignored or decided because they opted not to ride the modernist wave.  Such celebrations grow in impact when they take the form of a museum retrospective which is exactly what's on deck for this year for the painter Max Ginsburgh (b. 1931).  Stretching in date to 1956, more than 50 of Ginsburgh's works will be on view at New York City's Salmagundi Club (July 18th- August 5th) and more than 80 at the Butler Institute of American Art in Youngstown, Ohio (Sept, 15th-November 11th).  Fortunately those unable to experience this rare display can enjoy the accompanying 192 page book, which illustrates 150 Ginsburgh works in total."

Peace March oil 48 x 70

I am thrilled to be helping Max, Richard Weinstein, (his long time studio class monitor) and the staff at the Salmagundi Club, installing his show in NYC in July.

Additionally thrilled to be collaborating with Max Ginsburg in offering a 3-5 day Workshop here at Carriage House Art Studios Atelier this coming October, (dates and pricing to be announced).

For further information and to receive an early registration commitment contact Carriage House Art Studios/ Garin Baker/ 845-562-7802 or reach me by e-mail at: gb@carriageart.com