Model session – 2019-01-17
This pastel drawing ‘Model Session – 17-01-19’ I began last Thursday. My model beautifully arranged in an Andrew Cross composition together with the folds.
Roundism – 2019-01-16
Last August international dancer and model Julia Gómez Avilés came over to my studio where we, together with fellow artist Julia Filement, had a wonderful live session.
Cleopatra – 2018-12-22
This graphite pencil drawing ‘Cleopatra – 22-12-18’ is my newest Egyptian one. Someone bathing in donkey milk could only be that very special person.
La Langue Verte – 14-12-18
I liked the triangular position of the model’s body and put her in an Egyptian scenery, thinking of my roundism style relating to hieroglyphics and Egyptian arts in general. I always liked the intense need for styling and I consider the depictions of the human body by the old Egyptians to be one of mankind’s greatest achievements.
De Koepel (The Dome) at Voorburg – 2018-11-01
When I go to teach at Studio Brugman, atVoorburg I often come across The Dome (De Koepel), situated in the middle of estate ‘Vreugd en Rust’.
Model Session – 2018-11-29
This evening I had a great session with my main model throughout the years. She is slender, knows what I want and shows dark skin tones, giving my the possibility to fool around with all sorts of colours.
The Brown Eyed Girl – 2018 (Sold)
A commission for a classic portrait. I focused on the complexion of the beautiful young woman from indonesian and dutch origin
Oudaen – 26-11-18
Last year I was at Oudaen, a city castle at Utrecht, Netherlands which now is a crowdy hotspot for party people. I was dining near the window in the corner with hundreds of people around me but a single cat was lying quietly by the window.
Roundism – 2018-11-19 (Sold)
This graphite pencil drawing ‘Roundism – 19-11-18’ is something new. I was in for a bit of fun. Perhaps caused by my previous one ‘An Archeological memory of Bettie Page – 13-11-18’.
An archeological memory of Bettie Page – 13-11-18
The reference picture I used was slightly different from the one I used for ‘The revelation of Bettie Page (2018)’.
