Michelangelo`s Sculpture

[Sharon Knettell]

Leslie,

When I was in art school, we had to work with simple shapes and forms in black and white. Cones, spheres etc. In the classical ateliers the drawings were done from actual casts not photos. The purpose of this was to increase the students ability to translate form onto a flat picture plane. Then the student went on to draw drapery, also in black and white. The student was not allowed to work in color until the teacher felt he had mastered form.

I was only taught really how to draw and paint after art school, by a very fine master, Eugene Tonoff. I remember painting from casts. It was great for a novice because they did not move and they were one color.The many errors I see on this forum by the people seeking criticisms, is that their art foundations are very inadequate. They rush to color before they have any understanding of form and there is much too much painfull rendering of photos and snapshots. That is not painting and drawing, it is simple copying.

We are all so anxious to start our masterpieces that we are unwilling to take the time to learn the underlying knowledge that makes a successful piece. Anxiety and enthusiasm are two sides to the same coin. We need to have more patience to really hone our skills. Then the arrows will hit the target with seemly little effort.

Sincerely,

[Elizabeth Schott]

Leslie, I am not qualified to critique your drawing, but I can tell you about this sculpture.
It is one of my favorites.

It is in the Church of St. Peter in Chains, originally called Basilica Eudoxiana, Rome.

Now I am not making a statement about any religion, but the way this sculpture was treated when I had the pleasure of seeing it in Rome way back when.

You entered the Church, which was very large, and it seemed way down on the right tucked away by a Pope's tomb is this lovely sculpture which is part of a bigger facade. But what really blew me away was under (or near) the Altar, is a jeweled case with the "chains" of St. Peter. (We had to find relics all over the city as part of our assignments). There was one church that had a splinter from the crib of Jesus, which I get confused with the chains. The real topper was the "footprints" of Jesus at St. Sabastine's Catacombs. Anyway back to the sculpture.

I just remember the lighting was very dim, and there was such a crowd around the case with the chains, and you could have missed this lovely work by Michelangelo.

I want even go into the Etruscan pottery at the Villa Guilia!

[Leslie Bohoss]

Hello!

Elizabeth, for me it's always magical to see old artworks, too. I wasn`t in Rome (perhaps this summer), but Florence (David! and many others), Pisa, Sinopia Museum, Sienna, Neapel. If you see what Michelangelo could make with 16 years...you would have no words.

Italian joke in Italy:

Italy makes money in a very simple way:

1. Take a little, no-name village.
2. Hang a few old pictures (having mass) in the Church.
3. The next year is full with tourists!

(The whole thing is impossible: you never find a no-name village.)

Sharon,

Thank you for your kind and important words! You are right, of course. One can not write any great novels without knowing the alphabetic characters. I read the thread, "Classical Drawing", too. In fact, it seems to be an important rule: one must master (at first) the conversion of 3D to 2D in monochrome. I think this is so especially for underpainting, since this handles form and color separately.

I have a statue of Venus (Boticelli), and now a little head from W.A.Mozart, bought on the antique market. I promise spheres and cones, etc. Practice first, before I attempt that one from "life".

I hope you can understand why beginners probably succumb to the fascination to make something fine, and begin to copy. Perhaps the idea behind this is, "this is only for me." But, as you said, without a solid background it makes all that more difficult, even if one is satisfied with the quality. It's similar to playing a violin. When I was young, I learned it from a friend (a grandiose gypsy master in Hungary), but only up to a certain level (determined by talent at "birth") and NOTHING above (total equal what you try!)

Back to painting, I feel many things, but still in an unadvanced manner. I think, I learn many things here (and from books), therefore I am clearly NOT still an artist. I hope Steven is alright with this:

You'll be surprised at how quickly the next drawings improve as you begin to train your head to look for things and your eye to find ("see") them.

BTW: In this connection, I found this somewhat funny: by chance last weekend I received a "commission" for an oil portrait of a a Turkish child, with a smile (teeth)! Perhaps the sister, too! For me, it would be my 3rd or 4th pieces! I really fear starting with it. (Fortunately no deadline.)

Best wishes, Sharon.

Leslie

P.S. Is your Hungarian pastelist friend living in the USA or in Hungary?

[Lon Haverly]

Leslie,

A cast drawing is more effective if you work from an original figure. It doesn't move, you can turn it, or pick an angle and set the light as you choose.

This appears to be a drawing from a photo of a sculpture. It does not have the same benefits. This drawing has problems, but none that practice will not cure. I recommend finding a sculpture, setting it up, and drawing it. You may find it much more rewarding, in terms of results, and enjoyment.

[Leslie Bohoss]

Thank you, Lon!

After I practice on simply shapes, I'll start with Mozart. (Perhaps try Venus, too, but can't post it.)

I bought a special set with 2 charcoals, 2 sepia, and red, white crayons, etc.

Wishing you a happy day,
Leslie

[Denise Hall]

"but what really blew me away was under (or near) the Altar is a jeweled case ..."

Beth,

I wish I had the time to sit with you over coffee and listen to your stories of being in Rome and discovering all these wonderful relics, art historical facts, etc.! If I ever get there I will know where to look, thanks to you.

Right up my alley,
Denise