Auguste Rodin & Camille Claudel at Three Inches Challenge

Participating in a creative challenge is about exploring new drawing skills. A challenge needs to be a challenge, doesn’t it? I found Three Inches, at #mindfulartstudio of Amy Maricle, which is about working on 3 square inches. I decided to do a study of Auguste Rodin and Camille Claudel’s artwork. The insight that I gained confirms that I am not fascinated enough by human anatomy, despite hugely admiring Rodin and Claudel’s work. Nevertheless, I liked the challenge as a welcome break from my current obsession with antique drawings of beautiful classical buildings and romantic landscapes.

Thank you & till next posting,

Paula

Three Inches Challenge on Instagram at #incheschallenge2019.

at Etsy  (I have a summer sale at Etsy)

at Instagram

 

 

 

 

 

 

 

 

 

 

 

 

 

Ma, a Japanese aesthetic principle, in my three bird drawings

I’d like to show three paintings in which I have incorporated Ma, a Japanese aesthetic principle. Ma is described as ‘an interval in time and/or space’, thus referring to empty spaces, vagueness or abstraction. Empty spaces, in which nothing seems to happen, are full of possibilities. How do my three birds deal with Ma in their portraits?

Ekster by Paula Kuitenbrouwer

For my portrait of Magpie, Korea’s national bird, I added orange colour to compensate for a magpie’s black and white plumage. To stay close to her Korean habitat, I decided to position Magpie on a colourful and fruit-bearing persimmon branch, heavily laden with pumpkin-shaped kaki. Magpie is content with her portrait, and so am I.

Crow Kraai by Paula Kuitenbrouwer

Setting up a composition for a portrait of Carrion Crow was a little harder. Negotiations with this proud and cheeky bird were tough. I talked him into sitting on a mountain ash branch, but initially he didn’t agree with my decision of pushing him a little to the rear.

‘You are an indigo blue-ivory black bird’, I explained by pointing out that humans don’t like black things. I explained that I could trick humans in loving his plumage by adding the rich palette of colours of an autumn Mountain Ash.

‘This branch has fresh green, bright orange and deep red, and will charm viewers in loving your monotonous black feathers. And if I use a diagonal composition, I can guide the viewer along the branch, climbing up from deep red, through the bright orange to sap green. After such a colourful journey, people don’t mind a bit of solid black. But to do that, I told Carrion Crow, I have to push you a little to one side, but that is okay. Reluctantly, Carrion Crow agreed.

Sparrowhawk by Paula Kuitenbrouwer

My sparrow-hawk demanded to sit high and mighty on the top branch of a proud pine tree. The world of humans doesn’t interest him. He soars above it, looking down on our wars over oil, mass migration and our overheated, overpopulated world.

Sparrow-hawk knows he has this intricately textured and awesome coat of feathers, which makes fashion designers drool. Not much is needed next to such an eye-catching bird; two almost evenly-coloured pine cones complete the portrait. Sparrowhawk sat down just long enough for me to make a portrait, and, without so much as a ‘thank-you’, flew off to his own world, soaring high above ours.

Back to Ma.. In all three bird portraits you’ll notice considerable emptiness. My birds seem to look into this emptiness. What do they see? A suitable partner? Prey? Are they guarding their hidden nests? Are they exploring new horizons?

Ma is for you to fill in with your imagination, with your story-telling, your ornithological knowledge or poetry. But Ma can also be left open. We don’t need to fill in empty spaces with projections, trauma, words or sounds. Ma offers a thinking pause or escape from our train of thoughts.

Magpie, Carrion Crow and Sparrow-hawk understand Ma naturally. We are enchanted when we see a bird resting on a tree branch and we long to be like them: resting in Ma, accepting the here and now.

Paula Kuitenbrouwer

@mindfuldrawing on Instagram

at Etsy.

Magpie Drawing 

Crow Drawing is sold.

Sparrow-hawk Drawing

Commissions for other themed Ma drawings are open.

I invite you to have a look at my portfolio on Etsy and Instagram. You might like to watch the videos of me drawing in Etsy and Instagram too.

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Koi Carp, Koikarppi, Cyprinus carpio, Koi fiŝo, Niŝikigoi, 비단잉어, Carpa koi

Koi met Vis Vaas

 

Koi carp, or more specifically nishikigoi are a group of fish that are ornamental varieties of domesticated common carp that are kept for decorative purposes in outdoor koi ponds or water gardens. Koi carps are mesmerizing. People are willing to pay big money for a pretty carp fish. An ‘Agasi’, the blue koi,  is particularly pretty. I think I know why.

Some time ago I sat next to a large pond that was filled with koi with beautiful colours and patterns. I looked at them and looked at them. I sat and sat and got mesmerized. I asked myself why I was I so intensely enjoying sitting next to this pond and looking at the slow and gently moving  fish? I just didn’t want to go home, I couldn’t get enough of it. Suddenly I understood. The pond with koi had become my thinking. Each koi represented one thought, a thought that lighted up against the dark, deep pond. Thought swam in and out of my mind and koi carp swam in and out of my vision. The more the fish got used to me and I to them, the slower they appeared and disappeared. Simultaneously, my thinking process became a flow; it slowed down and became less demanding. I became aware of my thoughts coming and going, like the koi. Sitting by the pond and looking at the colourful, smooth swimming fish became a spontaneous meditation. Has this meditation helped me to understand the obsession with koi and the willingness to spend a monthly salary on a beautiful Agasi? Yes, I do understand now, but that doesn’t mean I became obsessed because that is a choice. However, I decided to draw a koi-series to capture the meditation experience in coloured pencil drawings. Every time I look at my drawing I want to feel that meditation again. And I hope others feel it too while looking at my drawing. This happened years ago and I’m still drawing ponds with koi. I still must be mesmerized.

Paula Kuitenbrouwer

Guido Reni (Bologna 1575-1642) St Joseph with the Infant Jesus

Reni JosephGuido Reni (Bologna 1575-1642) St Joseph with the Infant Jesus

Guido Reni lived from 1575 to 1642 and painted mostly in Rome. He ran a busy studio engaged on commissions from many Italian cities. Born in Bologna into a family of musicians, Reni was, as a child of nine, apprenticed under the Bolognese studio of Denis Calvaert.

I especially like St. Joseph with the Infant Jesus, painted in oil on canvas by this Bolognese painter. There is something captivating about this old father who holds baby Jesus. He is a handsome old man and he seems wise, but also vulnerable. To my opinion, Guido Reni has painted an older father who is well aware of the future of his baby. It is as if Joseph holds his treasure not only tenderly, but also in very high esteem.

Now look at baby Jesus. This isn’t a normal baby. It almost sits on Joseph’s hands and shows a remarkable awareness. As much as it is a baby, it is the spiritual master of Joseph already. Guido Reni also has given baby Jesus a lightness; not only by casting a bundle of light on the head and body of baby Jesus, but also by given this baby a beautiful glow. Reni’s baby Jesus shows in another way its ‘light’ too, by suggesting it is light-weighted. Joseph holds his baby as if baby Jesus weighs as much as a feather. This all adds to the impression Guido Reni aims for showing how remarkable baby Jesus was already as a baby.

I like to draw attention to the flower baby Jesus is holding. Most likely it is a lily. A lily symbolizes purity and integrity. In many paintings the Virgin Mary and other saints are  portrayed with a lily. Baby Jesus holds the lily close to the heart of St. Joseph, or you could say, St. Joseph holds baby Jesus, who holds the lily. This important baby is safe in the hands of his father. We can trust Joseph to keep baby Jesus safe from being harmed as a child. Maybe Guido Reni gives baby Jesus to hold the lily close to Joseph as if to say thank-you for taking care.

In the back of this painting (I think) I see Maria being visited by an angel. This could be an annunciation to the blessed virgin Mary scene.

I could go on and on showing you how beautiful Joseph’s cloak is done. Or the technical skills of creating grey hair through darkening the background around the head of Joseph with a thick green forest scene. However, I stop and return to my drawing to finish my small interpretation of this painting. Enjoy my work-in-progress.

Paula Kuitenbrouwer

Paula Kuitenbrouwer’s artwork is on

Etsy & Instagram (also videos on Paula at work).

Commissions are welcome.