And now for something completely different: cows in Marlot. I wanted to change the subject for once and do a drawing similar to the horses in my drawing Laren 30-04-20.
After careful considering I chose for a rendering with hatched strokes like I am used to in doing pastels and many a drawing, even though this is the first time in oil.
The other day I bought new paper by Talens (Toned Colour Mix): a sturdy dark blue sheet perfect for colored pencil and pastel sticks. I also happened to find an old pastel stick (gold, Cretacolor 48254) that I did not use yet.
A continuation of the previous painting called ‘The Implicite Order – 20-02-20’, commissioned by an American collector.
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Saturday 16th Novembern2019 I had Julia Gómes Avilés over as a model again. I wanted to express her dancing skills by a dynamic pose in which she holds her foot and combine it with her bodily features running off paper like natural waves.
Drawng often is called the primary process and I like it so much, brimming over with an ocean of ideas, that I forget about transfering those ideas to the secondary stage: the canvas. There always is something to dust off and in 2017 I used ‘Nude – 03-09-15’ to work out a bigger theme, called ‘The Widow of Aleppo – 18-05-17’, after Rembrandt’s painting Jeremiah lamenting Jerusalem’s destruction. Since the war in Syria sort of came to an end but the people still suffer, I found it appropiate to do this anew but then in oil.
The third art work in my new series on Egypt. I experimented with my personal style ‘roundism’ in combination with realism and surrealism.
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Some years back I saw an incredible oil painting by Herman Gouwe of a sunset in cyan, yellow, purple and red and I it baffled me. How could bright shining light ever be portrayed better than this.