One day I was admiring our local herbal garden and found myself in William Morris’ Trellis wallpaper design. To celebrate this moment of seeing artwork by the most famous Arts and Crafts Movement artist being alive right in front of me, I set out making a large watercolour painting. I believe the Arts and Crafts Movement and especially William Morris’ designs strengthened the human-nature connection.
This watercolour makes a lovely wink to past artisan times. Morris designed a simplified trellis with perfect squares, which I stayed true to. But instead of climbing roses and bluebirds, I have chosen passionflowers as host plants to a hummingbird and a butterfly. I have paid much attention to drawing an Arts and Crafts frame, in dark wood with embellishments.
Morris used different ground colours including blue, dark grey, taupe, and the off-white which I will do too. Blue symbolizing heavens, the ethereal part of life and dark, wood brown representing our earthly life. I have used some gold and iridescent paint so that light offers an enriching effect on this watercolour painting.
Size is 46 by 61 cm or 18 by 24 inches. Horizontally oriented. I always use Arches High Quality Art Paper, satin because of its soft satin feel and because, to me, it is simply the best. This artwork will need an off-white or softly coloured passe-partout (mount) and a frame. You will cherish this original artwork for years to come!
‘Trellis with lush Acanthus and Passionflowers, a Hummingbird and a Butterfly.’ (Passionflower is the host plant for hummingbirds and fritillary butterflies).
Should you like artwork that matches your William Morris wallpaper, consider commissioning me. I look forward working with you.
Let me introduce The Sorcerer discovered in 1960 in Ariège, France. He has been regarded a mythical figure, a shaman, leading a ritual dance. The fact that he directly looks at us as if he is interrupted, is remarkable. Why is he doing that? My method of getting to know him better is through drawing him and paying attention to what I observe during the process of drawing. This I combine with reading about him. I will never be able to see the Sorcerer, thus I fully depend on reference photos and interpretations by the man who set out to show the world all cave painting by sketching, Henri Breuil.
By looking at these two images, a controversy becomes immediately manifest; is Henri Breuil’s drawing a reliable copy or is it his interpretation? This has been hotly debated but I won’t go into this. I trust Jean Clottes who has asserts Breuil’s drawing after having seen the original perhaps over 20 times over many years.
Breuil’s drawing is however problematic, even if it is a truthful copy of the original rock art drawing. I start to draw the Sorcerer, scaling it up in size, working on his head. It is said that the sorcerer isn’t a shaman, it isn’t a human; it is a composite figure bringing together many drawings of Ariège cave. Here we see, the antlers of a stag, the ears of a wolf, the face of a deer, the eyes of an owl, the beard of a bison, the claws of a bear, the pose and the tail of a rearing horse, and the (hind) legs and genitalia of a man.
Drawing Sorcerer’s deer face, I run into trouble with the position of his eyes and ears. The position of the neck in relation to the head and ears is flawed. Equally flawed is the neck of the body in relation to the en-profile position of the face. A face that looks at us over one shoulder would show only one ear, the other would be obscured, visually missing, which is not the case with the Sorcerer. The antlers seem to be incorrectly positioned as well; in case a (horse or human) body is rearing to the front and the head is turned, looking to the viewer full face, then the front antler would seem bigger and the antler more positioned to the back would look a tiny bit smaller, as is not the case with Breuil’s drawing. In fact, the back antler looks bigger! This leads to the conclusion that the head is distorted. Either the painter had this in mind or as cave art is palimpsest art, meaning that paints are re-used, altered and traces of early paintings are often visible in later versions, the compositional flaws could be caused by many artists working at this piece of rock art over a long period of time.
The second feeling of unease that I experience whilst drawing the Sorcerer is related to the difference in style and skill regarding the head and the body. The body of the Sorcerer is very well done. We see a well proportioned horse body with a waving tail and strong human legs. But what about the head? The bison beard has no movement; the antlers seems to be done by somebody lacking drawing skills. Thus I wonder how this composite head would look like (drawn by me in this case, but I invite you to do the same). Whilst drawing all the animal attributes, I observe that this composite figure has portrayed very well chosen and formidable animal qualities. Is this portrait then an obituary to a very charismatic shaman?
The Sorcerer shape-shifts in many animals, most of them mammals. With the superior eyes of an owl, he perhaps isn’t looking at us, but trying to find his way back, through the dark, to his human body and to his community who has gathered deep inside Ariège cave.
In my hometown of Utrecht, on two Rococo houses alongside the ‘Nieuwe Gracht’, stands Hercules holding the sky onto his shoulders. The ancient story goes that Hercules has taken up the firmament for Atlas allowing the old Titan a brief moment of respite to take up one of his labours.
I had to correct Hercules’ legs because all reference photos are taken from street level, and Hercules stands on top of a four story house, and it therefore the statute showed too short legs. I’ve elongated Hercules’ legs to create a level frontal view.
Hercules looks strong, but he is a demigod and demigods can do things we mortals can not. Yet, the maker of this statute, the Dutch sculptor Ton Mooy, has given Hercules a tormented expression.
I kept wondering why I like this Hercules. When I was about to draw his hair and face, I remembered. I had seen this kind of hair and facial expression before. Hercules has the same hair as Vercingetorix (see photo) and a similar tormented expression as the statute of the Dying Gaul (see photo), an Ancient Roman Hellenistic sculpture. There is beauty in showing that extraordinary strength and bravery often comes with pain.
Hercules Utrecht Statute by Ton Mooy, drawing by Paula Kuitenbrouwer
Herculus in Utrecht City Centre, drawing by Paula Kuitenbrouwer, Statute by Ton Mooij.
Herculus/Aardkloot/Nieuwe Gracht Utrecht by Ton Mooy
In 2017, I followed ‘Who were the Celts?’ at Oxford Department for Continuing Education. I enjoyed reading an essay on Iron Age mirrors. ‘Mirrors in the British Iron Age: Performance, Revelation and Power, by Melanie Giles and Jody Joy. It inspired me immensely.
Iron Age 50 BC – AD 50
Found in 1908 near Desborough
After reading about Iron Age mirrors, I set out to draw the Iron Age Desborough mirror. Through drawing I would gain more insights into its decorations and its function. Iron Age mirrors that were beautifully decorated and made of bronze and iron were found in graves of high status Iron Age women.
I like to say something about high status Iron Age women. One might think ‘high status’ refers to rich women or wives of rulers or kings. But although both accounts can be correct, high status refers in the Iron Age more to women being leaders or shamans themselves.
Working on the patterns of Desborough Iron Ago Mirror
Detail of Desborough Iron Age Mirror
The essay discusses how Iron Age metallurgy and how a whole community was involved in the making process. Also, it discusses social relations, grave goods, and the compass drawn motifs of repeated and distinctive forms arranged into intricate and flee flowing designs. Fascinating, to say in the least. The question begs why were mirrors used as grave goods? The easiest answer does not always work, one being that the Iron Age lady was buried with her belongings. Perhaps the mirrors were not possessions but (diplomatic) gifts. And why would a deceased lady take a mirror, she wouldn’t need it in her afterlife, or would she?
Imagine looking into this mirror. The effect of seeing your face in the reflective properties of the plate, disrupted or enhanced by its La Tene decorations would …yes, what would you see?
Giles and Joy describe how the decorations on the mirrors are not only used to deceive the eye, but also to reinforce the reflective qualities of the mirror plate. The anthropologist Alfred Gell points out that Iron Age mirrors could have expressed political power and legitimise associations with the supernatural. This is hard for us to understand but in order to understand what Gell states requires us to imagine a time in which you only saw your reflection in (restless or calm) water, in shiny objects, like copper, bronze, silver or gold. How special such mirrors would be! Imagine now that next to not frequently seeing your reflection, you were raised to notice all sorts of shapes in water, smoke, old trees, and rocks. We have a clear sense of what we see is real and what is imagination, but for ancient people perhaps seeing was just seeing, whether it was imagination or fact. If the under-upper and middle world aren’t having hard borders, perhaps seeing imaginative, hallucinative and factual weren’t compartmentalised either.
When I suffer a migraine aura, I see things that do not exist and things that I need to see are gone. I can be passed in the streets by somebody who is missing his head. Perhaps looking into an Iron Age mirror yields a similar effect as having a migraine aura because Iron Age mirrors have blanked out spaces and thus provide viewers with a disorienting and distorted image of themselves. Yet, an Iron Age mirror has not only missing parts (blanked out spaces, decorated with a basket woven texture) but carefully chosen synchronised but flow-like playful, witty, and mischievous botanical and animal patterns. What effect would looking into a shiny plate, with a deliberate disorienting pattern have? Here the essay explains more about the ‘technology of enchantment‘ and goes deeper into psychological war-fare though powerful visceral and visual effects. It informs the reader about the Fang People of Gabon who used hallucinogens before looking into mirrors, and states that these Iron Age mirrors were not real mirrors (not for checking hair or make-up). In fact, the mirrors played a role in rituals to release the soul to its afterlife.
During the time that I spent drawing this Iron age mirror, I tried many things. I tried to project my face behind the decorations, fusing my face and the decorations and then see all sorts of animals. Of course, this is a very poor attempt to understand its magic. But I have to do it with a large doses of imagination and hours of drawing as there is no way I would be able to hold the mirror up and have a look in it. And even if I could do that, there wouldn’t be a ritual that would be helpful performed by an Iron Age shaman who would be experienced in travelling between worlds. (Or brainwaves, or different stages of consciousness, whatever way you might define shamanistic journeying).
My concluding thoughts are that by looking into this mirror, in an Iron Age ritual ceremony, with an Iron Age cognitive mindset, maybe, as a dying lady of high status, I would find great comfort in seeing my old face being obscured with these splendid swirling decorations. I would be calm as I have seen, thanks for my migraines, often enough things that aren’t there and fail to notice things that are there. I would probably enter theta brainwaves the same way as after sitting down for a longer time in meditation or -more Iron Age style- looking into the smoky swirls of an open campfire. I might start seeing my face, combined with the swirly flowing embellishments turning into animal and ancestral spirits. One has to understand that the Iron Age was full of spirits, spirits we have carefully abandoned from our modern life. But just as they have been forgotten, it doesn’t mean these spirits aren’t there. I would most certainly find an ancestral spirit that would ‘present’ itself as so much of my own face would be blanked out, and only essential and familiar facial lines would still linger in the reflective image. Or perhaps, I would see a beautiful stag or other horned mammal, and experience it as my guiding spirit animal. Perhaps I would see the hybrid human-animal dressed-up shaman of the village giving me instructions to journey to the Other-world.
All in all, it would perhaps release my soul into an in-between world in which I would be able to project comfortably to what I would need to see. I would probably have been fasting during the last days of my life, I would be susceptible for my imaginative mind to dominate and thus the softly and dreamily reflecting mirror would get a transitional quality and function. Or perhaps I would look and whisper some wise words, like Tibetan shamans who look into mirrors to see the future and the past, wise words that would be helpful to my tribe. The Fang people of Gabon use mirrors to contact their ancestors. Do Iron Age mirrors have a similar function?
Obviously, many things become possible should such a highly valued mirror be available to a tribe. It is therefore that there many more than this Desborough mirror only. One by one these mirrors and their fascinating embellishments are showing us that Iron Age metallurgy and shamanism practises were interrelated and that highly decorated ‘magic’ Iron Age mirrors were much appreciated by Iron Age peoples.
P.S. During the hours that I was my drawing of the Desborough mirror, I travelled between worlds too. I had to descend from my creative, spiritual plane of manifesting ideas to the mundane world of running errands. As the trees were shedding their leaves, I noticed many decomposed leaves with open parts resembling mini Iron Age mirrors scattered on the street. If you can’t enjoy looking into the Desborough Iron Age mirror at the British Museum, don’t despair, mini versions are freely available every autumn.
Art cards are available at Etsy (and can be framed as small memories to this exquisite mirror):
The mandarin ducks (Aix galericulata) have carefully chosen a place to rest. They seems to blend in with the dark background, thus if necessary, they will respond quickly by taking to the waters and thus escape predators. The river is calm, the forest is rich in sounds and smells, and all is well. The reflection of the lovely couple is visible in the calm water. Birds are flying over.
The duck and drake have just decided to take a rest and have already positioned themselves on the bank. The duck is checking the left, the drake checks the right, if all feels safe they will soon tuck their bills into their wings and take a nap. After that they will look for food again, synchronized as they are. They are life long partners, like swans. In Asia mandarin ducks represent love and loyalty. On the photos of this drawing, you will notice a few wooden ducks. They are used, in Asia, like drawings, prints and paintings, to enhance feelings of love and loyalty in homes and rooms between couples. Seeing bonding ducks, seeing how synchronised they are, makes people long for a deep belonging, a deep bond between lovers.
This is a softly rendered graphite drawing. On my Etsy home page and Instagram you can watch a video of the making of this drawing. I have done many Mandarin duck commissions for homes, weddings, engagements, stationary, or meditation/sleeping rooms. Contact me should you have specific wishes regarding a mandarin duck drawing. Also, have a look at my shop where you will find mandarin duck mini-prints, cards, and full colour drawings. May I advise to have a full colour drawing of mandarin ducks in a monochromatic coloured room and a softly rendered graphite drawing in a colourful room?
Artist information: Derwent graphite H-series pencils on Arches hot press paper 31-41 cm. Winsor & Newton Varnish Spray.
Ornithological information: Although Mandarin ducks are Asian ducks, Dutch park and estate owners buy these ducks to add some bright colours to their duck ponds or castle moats. Mandarin ducks then need nesting facilities because in nature they breed inside tree cavities. They seem to do well in Dutch weather. I am very lucky to have spotted them nearby my home town. One thinks that they stand out splendidly, but I can assure you that even the very colourful drake often seems to blend in its surroundings perfectly.
My ‘Gate to Heaven’, a lovely gate is located not too far away from my home, at Bruntenhof, Museumkwartier in Utrecht.
In real, there is no flower vase, just pavement in front of this gate. I received some feedback, stating: ‘There is a great difference between a photo of this gate and your drawing. A photo shows beautiful stonework but you have drawn something dreamy and poetic. The gate has become a portal to another world. You can walk through it and find yourself in a Medieval landscape with knights and dryads‘. I think the feedback itself is rather poetical, don’t you think? Such sensitive feedback stimulates me to make even more progress.
This gate can be found at Bruntenhof, Museumkwartier in Utrecht, in the centre of the Netherlands. It dates back to 1620. But it could be any gate, a dream gate, a portal to heaven, to another world. Gates are symbolic and often stand for a transformation or travelling between worlds. Gardens are set apart from manor houses by a gate. People drive through gates to enter an estate. Gates impress, transform, and show style; Roman, Art Nouveau, Classical, Medieval or gates are used for defence purposes. Drawings of gates can mean so much and are open to your interpretation.
Commissions are welcome for drawing a favourite place be it a gate home, residence, manor house, hotel, garden, holiday-home, estate, or apartment. Contact me for discussing your preferences.
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,
Three Inches Challenge on Instagram at #incheschallenge2019.
I have studied some Dutch Golden Age painters in the past, and Rachel Ruysch (1664-1750) was one of my favourite painters. She painted very well, but she also had ten children! It bemuses me how one can paint so exquisitely and have ten children (therefore a minimum of ten pregnancies). One may assume that she died a tragic and premature death, but she did not. Her dated works establish that she painted from the age of 15 until she was 83. When it came to her household, though, she had help, because she could afford it. But I am not planning on writing about my role model. I want to point out that Dutch floral paintings in the Golden Age are an illusion. When we buy lush bouquets at the supermarket, we have little to no knowledge about the plants; we don’t know when they bloom and where they come from. We care a little about seasonable vegetables and fruits, but we don’t know where flowers come from. Golden Age floral painters studied flowers by making meticulous sketches and writing down which colours they needed.
Upon designing a large floral bouquet, they needed to check their notebooks and sketchbooks. This way, they put together flowers that do not bloom at the same time, and they also added seasonal butterflies or insects, therefore showing spring, summer, and autumn in one painting. Nowadays it is easy to consult a book or check a photo, and then put together flowers from all over the world, flowers that never bloom together at the same time. The difference between the Golden Age and now is that we fly in vegetables, fruits, and flowers, and that isn’t good for our carbon footprint. Golden Age painters created prosperous bouquets, not with the help of cargo trucks, cool cells, or air-planes, but with their own notes and sketches.
I am working on the successor of ‘Praising Plants‘, ‘Ode to All Oak Trees‘ and ‘Sophisticated Succulents‘ and returning to William Morris for inspiration. For years, William Morris didn’t appeal that much to me because I was still under the influence of my study of Dutch Baroque floral painters. They, as no one else, could create depth and a feeling as if you were looking at a real bouquet. They positioned their composition in such way that a large flower vases, with all seasonal flowers, would stand proudly on show and you could -in your mind- walk around it. You would admire not only the flowers but also water-drops and insect that rested on big and small petals. But, of course, you were looking at an illusion. Dutch floral painters studied flowers, one by one, made sketches on them, and then set up a composition as if all flowers were all in bloom at the exact same time, which is never the case in nature. A wonderful illusion; a much admired illusion. William Morris looked one dimensional compared to these baroque painters, yet, I learned to see that compared to many modern flower designs, Morris certainly isn’t one dimensional. He may not create as much depth as I would like to see, but he weaves flower stems, creating the feeling as if you are in nature and looking at bushes, trees, and flower beds. Some flowers are near, some further away.
My drawing will have another lovely title using again a two word alliteration. You are invited to guess. However, before doing that, one needs some botanical knowledge and isn’t that not exactly what makes us love William Morris? He educates and inspired us with his design, botanical knowledge, and colourful palette.
William Morris mainly scatters and extends broad leaf foliage, flowers, and sometimes animals for the purpose of creating a repetitive, yet not too repetitive, wall paper design. There is a difference in what we expect from wall-paper, a painting, and from a mural. We expect a mural to trick us like Harry Potter on Platform 9 ¾ : we like to run into the world that is suggested by a mural. Wall-paper, on the other hand, aims at supporting the design and décor of a room. Wall-paper must suggest less depth than a mural or painting, but more than a brick wall, by weaving the stems of flowers and using the technique of foreshortening, Morris does exactly that however not overly.
I have yet many white spaces to fill up with my own designs; this way of freehand drawing is enjoyable.
Here you find more on my William Morris Trellis watercolour painting. (Click here)
To deepen my understanding of female prehistoric figurines, I have set out to draw a few of them. Clockwise starting with tge middle-lower sitting woman, you find Courbet Venus, carved in a seated position, about 14.900 years old. Followed by the Venus of Polichinelle, carved in green steatite, 27.000 years old, found at Grimaldi. The strictly stylised engraved Lalinde Venus (there are more than one) found in Gönnersdorf in Germany, in Abri Murat and Gare de Couze in France, Pekárna in the Czech Republic, and Wilczyce in Poland. Stone Age. Further clockwise; Venus figures from Wilczyce, followed by another Gönnersdorf figurine. Then, Petersfels Venus that is made of jet, circa 15. 000 BP- 2.000 BP. Another Gönnersdorf engraving and last, Venus from Nebra, 15.000 years old, animal bone.
It makes you wonder, doesn’t it? You can’t possible blame prehistoric peoples for a lack of body diversity. But why the concentration on bellies and buttons, and why are heads and feet missing? Most look either emaciated, nursing or pregnant. Are some suffering from chronic diseases? Did it matter how a female looked like, or was the first piece of bone or stone vaguely resembling and therefore symbolising a (perhaps departed) woman okay for whatever ritual? Some look crudely abstract, others are enchantingly elegant, as if they are the first sketched outlines of ballerinas in action. I have chosen an ochre background as this pigment was hugely important to prehistoric peoples.
After my ‘Praising Plants’, a large graphite drawing that was sold rather quickly, I decided to continue with botanical theme-drawing and thus I designed ‘Ode to All Oak Trees’.
‘Ode to All Oak Trees’ copyright by Paula Kuitenbrouwer
‘Ode to All Oak Trees’ copyright by Paula Kuitenbrouwer
This drawing has a large oak tree as it centre piece, decorated with William Morris botanical motifs and leaves freehand drawn as its border. In spring a single oak tree produces both male and female flowers (catkins). The acorns are its fruits. We use both the acorns and cupule for crafts while jays eat them and squirrels store them for the winter. Oak wood was often used for building churches because of the density, great strength, and hardness. It is very resistant to insects and fungi. Oak wood was also used for building Viking ships and in Medieval times it was used for interior panelling of prestigious buildings. Oak was used for making barres to store wine and whiskey; its okay, vanilla like flavour is favoured. Mistletoe growing on oak trees were most treasured by druids in Celtic communities; it was harvests with golden sickles.
I drew an engaging Ex Libris is for those who study, love, writes or owns (history) books. Or books on Prehistoric Peoples, Celts, Anglo Saxons, Viking, Medieval or Renaissance books. It shows many areas of interest starting at the Prehistory (top), following anti-clockwise with Saxon-Viking, Medieval and Renaissance border. The inside patterned border is in style with the outer border; upper part shows an Celtic interlace pattern, followed by a Saxon pattern in the Saxon-Viking area, a Medieval, and elegant Renaissance pattern.
The bookshelves show special areas of interest too: the top book shelf shows history books on prehistory. They are all in soft red ochre, the colour that shows up on many prehistoric cave paintings. The book cover embellishments are based on research done by Genevieve von Petzinger, a scientist who identified pictographs used by prehistoric peoples in cave art. You see aviform, circle, cardiform, cruciform, negative and positive hands, serpentiform and so on. The next bookshelf is reserved for Celtic books, showing book-cover embellishments that are typical Celtic. Following is a shelf reserved for Saxon books, (notice ‘Saxon’ written in Saxon letters), and Viking books, showing ‘Viking’ as a transliteration (not as a translation). One bookshelf lower, the books get more colour as they contain Medieval books; the embellishments show a castle, a medieval ‘M’, a crown, flowers, etc. The lowest bookshelf proudly shows Renaissance books that have more bright colours and more floral and decorative embellishments.
The name box is for your name. Might I suggest you do that with sepia-brown ink?
The book plates make a lovely, special and unexpected gift as they are engaging and full details. In fact, one can sit down and take in all details for a long time. ‘Find the Dolmens…’ (in the Celtic border), ‘Admire Oxford’s Bridge of Sighs (Medieval border), ‘Can you locate Florence?’ (Renaissance section), ‘How many Viking shields do you spot?’ (Viking section). One could imagine that the Celtic roundhouses are located in an Irish-British landscape. The Saxon houses could be imagined in Germany. The Viking houses are located near a fjord. The Medieval houses are showing a busy town with less green, buildings are cramped together for defence reasons. The Renaissance buildings are full pride and glory. It must have been dazzling living in a Renaissance city. This Ex Libris shows West European history. It could, however, show another cultural aspect, for instance, a different time-line, a different history related to another part of the world, another religion, history or cultural aspect, a mathematical border, geographical, philosophical, musical, botanical, zoological one. I can draw any Ex Libris that shows personal preferences. Contact me to discuss your commission.
I have drawn with Derwent graphite and Graphitint a border for an Ex Libris, a book plate, that can be used for other means as well. I enjoyed making this border so much and it ignited my imagination. This happened because I started with the border, something I haven’t done before. Normally, I plan a border and I start in the left-upper corner of a drawing because I am right handed. But I hadn’t had an idea for the middle part, so I continued with the border. I ended with a full boarder and consequently thought; ‘This border could be used for any document or certificate, be it a wedding certificate, a gradation document, a photo, a promotion, basically, any document that is highly personal and highly valued, worth customized framing’.
This border shows (I will show it later in full) 4 time lines of our West European history that are loved by a family: the Neolithic Times (shown here in the top -Celtic Roundhouses with dolmens-, Saxon-Viking times, the Late Medieval time, as well as the Renaissance. The Renaissance being visible on this photo too. I added an inside border (shown as a specific pattern related to the time period) and I will now add bookshelves full history books in the middle part.
This is a very full drawing and it keeps me busy. But I love seeing it grow into an engaging piece that expresses the love for history this family has. Yes, it could show another cultural aspect, for instance, a mathematical border, geographical, philosophical, musical, botanical, zoological one, I can draw any border that shows personal preferences.
Return here within a week and the full Ex Libris will be ready.