What better than receiving a request to draw a floral triptych of lush spring flowers during the Corona lockdown? After the monochromatic under layer, working on these large Arches sheets (41- 61 cm), adding many layers of colour, felt like wandering through a lush garden.
The contrary was true. We were home most of the time, our city turning into a ghost town with museums and botanical gardens keeping their doors locked. Going to the supermarket and making a daily walk through greener parts of our area was all we did. I bought new green plants and planted some extra flowers on our balcony. But my real garden was on my drawing station and it was full irises, tulips, and daffodils. Before giving the sheets a protective spray, I added bugs and bees.
Packing up an commission always makes me nervous. But it worked by using an XL artist tube and three protective folios. By the time I brought the artist tube to the post office, our lockdown was almost over. Only our botanical gardens keep their gates closed till the 1st of July. Although I long to visit them, I understand that they can do very well without us, humans. They might even have had a jolly good time!
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 research. 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 painting are re-used, altered and traces of early paintings are often visible in later versions, the compositional flaws could be caused by more than one 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, technically and anatomically. 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 beloved and charismatic shaman? ‘He had formidable eyesight like the eyes of an owl’. It is almost as if we hear somebody remembering him during his funeral. ‘He wore antlers of a stag and could hear with the ears of a wolf’. ‘He had such a kind face, like that of a deer’. ‘He had a well groomed beard as one of a bison’. ‘He could run like a horse, but despite his superior qualities, he was just a man’ (hence the human genitalia).
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. A community that thought high of him and went through huge efforts to make an intriguing portrait of him.
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
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.
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.
The oldest (Celtic) god is Cernunnos, depicted with the antlers of a stag, seated cross-legged, associated with animals, and holding or wearing a torc (is a large rigid or stiff neck ring in metal, made either as a single piece or from strands twisted together).
Not much is known about Cernunnos but interpretations identify him as a beneficent god of nature, life, or fertility. I find it interesting that Cernunnos is half man, half stag. We clearly like to relate ourselves to such a magnificent animal. It looks well built yet elegant, noble and humble, strong but vulnerable.
I remember driving on Island of Mull and being redirected due to roadworks. As we continued our journey on small roads, all the sudden a huge stag stood in front of us. My husband stopped the car and for a moment we looked in awe to this mighty animal. It looked at us and we looked at him with instant respect, so close and intense was the encounter, that we can still recall the moment, decades later. It will linger in our memory probably forever.
Stag Drawing copyright Paula Kuitenbrouwer
Stag Drawing Antlers shapshifting into birds that fly to the moon. Copyright Paula Kuitenbrouwer
It is therefore that I have drawn stags and deer often. The challenge is always to capture the strength and elegance. Recently, I drew a full stag but I was disappointed because it didn’t stand out. It had not the mightiness that I was looking for. I then applied the ‘Celtic’ method of looking which lines and shadows were essential and which I should leave out. Say 90% of my initial lines were erased and as a result I not only ended up with a more powerful stag, the space that became available allowed me to work on applying beautiful lines and figures (see how the eyes of the stag are also birds). Thus, the stag is complied of many seemingly loose elements, connecting and giving it form.
I placed it in an ancient Upperworld, Middle world, and Underworld. The Upperworld shows the sun and the moon and the antlers of the stag shapeshift into birds that fly away, symbolizing a shamanistic journey to the Upperworld. The Middle world is shown as tree branches and tree trunks. The Underworld can be entered by visiting an ancient burial site, or being close to dolmens, as is the belief of ancient peoples. I knitted all worlds together by using patterned borders.
Artist Info: I used Derwent Graphite H7 and H3 only, on Winsor & Newton cold press paper. Using only Derwent H pencils gives a drawing very soft tones. Personally, I favour this, but others might judge that it needs more enforcement of darker areas. A few small prints of my drawing show a more enhanced or ‘harder’ version. There are many ‘Celtic’ pattern vectors freely available but I decided to design my own irregular patterns.
Recently, I found out that one can buy online postage stamps. It is very handy but such ‘post stamp’ appears to be a sudoku-like 9 square code that you pen down in the upper right corner of an envelope. Handy but disappointing, especially when you enjoy receiving a neatly handwritten envelope with an exotic postage stamp.
As so much digitalization is met with a return to pre-computer behaviour, like note booking, calligraphy, and snail-mail, I decided to return to using post stamps too. I bought a bag of old, hobby postage stamps that are used by Hobonichi journalling or notebook designing, and added them next to the postage codes. Somehow that didn’t do the job. And so, I set out to design a post stamp that shows a lovely nature scene, elegance, and spaciousness.