Lavery's Portrait Fiasco

Irish painter Sir John Lavery lamented in his memoirs that it is impossible to both capture a true likeness of a portrait subject and also please that subject.

The problem is compounded by the fact that most portraits are not commissioned by the subject, but rather by a relative or spouse, and their feelings must be taken into account, too. 

He recalls one time when "A Lady Somebody wanted a semi-state portrait to hang beside the Gainsborough and Romney in the ancestral hall of her husband, who was to know nothing until the work was complete." 

(Portraits are by John Lavery but not the one referred to in this story)

"The day at last arrived and with it the husband. Planting himself in front of the picture with both hands resting on a gold-headed cane, he maintained an ominous silence while his eyes roamed over the canvas."

"At last, raising a hand, covering the figure, and concentrating on the head, he spoke. 'I pass the forehead and the eyes. I move my hand downwards: the nose the mouth the chin, them also I pass. I move my hand yet lower: what is this flat-chested modernity that I see? Where is the snowy amplitude of Her Ladyship? No, Sir John Lavery, that does not represent my wife.'"

"Her Ladyship stood by his chair almost in tears, saying, 'I will not have an eighth of an inch added.' I had tried to please both and, of course, had failed."

"Later, I wrote to His Lordship that I felt he was justified in his criticism, and that if he was still in the same mind I would, with his permission, cancel the commission, and that he should take back the very expensive and highly carved frame he had ordered. He accepted."

He painted another portrait over the canvas.

Quoted from The Life of a Painter by Sir John Lavery.

Black Fish Tavern Water Ride

The rapids ride takes you churning past a half-sunk submersible and sunken galleons. Then you drop down into a hidden entry into The World Beneath. At the far end you rise into light and visit the golden realm of Waterfall City. Singers serenade you right before you float into the firing line of the water cannon.

Then spend some time at the Black Fish Tavern, where you can interact with dinosaurs, joke with pirates, or check out the burlesque dancers and outrageous jazz bands entertain you while you tuck into a platter of comfort food from the deep blue sea.

Paul Antonio & Copperplate Lettering

Paul Antonio has worked with the Worshipful Society of Scriveners in London. One of his jobs was to hand-letter the laws of the land on vellum.

He also has lettered millions of envelopes for royal events.

He talks about the challenges of the job in the Calligraphy Podcast, where he tells his amazing personal story, growing up in Trinidad in the 1970s, when it wasn't easy to find out information about lettering. 

In 2018 he wrote an excellent book on Copperplate lettering.

You can see his studio in this video tour. 

Rendering a Shiny White Cup

In his book, Color in Sketching and Rendering, Arthur Guptill says this white porcelain cup presents an ideal subject for studying the effects of light and shadow, because of it combines curved and flat surfaces.

"It is interesting to study the gradual changes in the lighting from Plane 1, which, facing the light directly, was practically white, to Plane 4, relatively much darker. Plane 5 was about the same in value as 2, receiving approximately as much light. Objects like this, showing a succession of planes, teach us that surfaces deepen in tone proportionately as they receive less light. Rounded objects often show this too." 

"This object differed from our previous ones in the quality of surface, for it was glazed. At the point market 'lightest light' it mirrored a miniature a miniature image of the window far brighter that white paper could express. Many minor reflections were evident, too some of which we have shown. You must look for such reflections when drawing smooth objects. While it is neither possible nor necessary to represent every slight variation in tone, the general character must be expressed."

---

from Color in Sketching and Rendering by Arthur Guptill

Nick Eggenhofer (1897-1985)

Nick Eggenhofer was born in a small town near Munich and found his way to America before World War I broke out. 

By watching movies, he developed a love of cowboys and Indians (or "Der Trapper und die Indianer" "Trappers and Indians" as they called them in German). 

He enjoyed drawing from a young age and soon found work doing  illustration, starting with pen-and-ink drawings.

He worked in a variety of media, including gouache (above), oil, and watercolor.

Eggenhofer's work is featured in the latest issue of Illustration magazine #79. The article includes over 75 pictures by him in black and white and color. The issue also includes a feature on Clyde Caldwell (born 1948), plus a listing of New and Notable books and Exhibition and Events.

What to Do If You Fail

"I wonder how many artists make the most of their failures by learning from them? Very few. The picture which is a failure is thrown away in disgust. The wise artist will keep it, cherish it, regard it as a lesson on how not to do certain things. He will examine it, analyze it, and will not be happy until he knows exactly what has caused the failure. When he he discovered this, he takes care to avoid a repetition of the fault."

Self portrait is by Ernest Meissonier

Quoted from The Artist Magazine, August, 1932 (Thanks, James W.)

Painting & Paddling with the Pup

I deploy the gouache easel beside Rondout Creek and open to a page primed with blue acryla-gouache. 

Most of the afternoon colors are warm gray over that. Inevitably the blue pops through here and there, activating the warm colors. 

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A post shared by James Gurney (@jamesgurneyart)

Here's the video, which includes Smooth digging in the soft bank and a little kayak excursion.

Edward Gosling, Armless Artist

Edward Gosling of Manchester, England, overcame the misfortune of losing both his arms when he was a boy. 

At the age of 15, he produced this Christmas card design, holding the pen with his feet.

According to an article in a 1936, "Losing his arms in an accident, he taught himself to paint, holding the brushes between his toes, and has just had an animal study in oils accepted for exhibition at the Burlington Galleries, London."

He went on to have  distinguished career, with paintings accepted by the Royal Academy. this one is called "A Welcome Rest". It appeared in a June, 1936 issue of The Artist's Magazine.

Thanks, James!

Stock Broker's Signals

A 1912 art-instructional booklet says these drawings of hands were "taken from an article illustrating stock-brokers' signals. The artist in this case has not attempted to obtain graceful hands, by any means, but simply expressive ones. This has been obtained largely by drawing them in an anatomical manner, paying particular attention to the bony structure. The knuckles show out very strongly, which puts on one side all possibility of softness or grace, and makes them hard and angular. but, at the same time, very strong and vigorous."

From "Instruction Paper on Strength, Expression and Grace in Hands, Limbs, Etc." published by the School of Applied Art, Battle Creek, Michigan. 

Thanks, James!

Aerial View of Paris

Victor Navlet (French 1819-1886) painted this gigantic overview of Paris in 1855 based on observations from a hot air balloon. The painting is about 12 feet high.

The details are so fine and carefully worked out that you can see windows on the individual houses.

It's at the Musée d'Orsay in Paris.