Painting the town in Washington, D.C.

Here it is already June! What do I have to to show for it being almost mid-year 2019? I’ve not been painting as much this year– due partly to some work-related priorities but mostly due to a combination of too many choices with regard to painting media and some news-overload paralysis, I’d say. Painting more frequently is absolutely essential to becoming more proficient and I’ve totally failed so far in that goal this year. I keep watching other painters’ blogs though, and am finding that some painters whose work I respect are rediscovering the value of working from reference photos (which means painting inside).

But we’ve had gorgeous weather beckoning me outside. And: I finally broke open a packet of watercolor paper I bought on the trip to Germany earlier this year–paper that’s hard to get in the U.S. (Being interested in paper, this is a sort of ‘me’ thing, I guess.)

Illustration: “Georgetown Waterfront Park,” Hahnemühle ‘Leonardo’ cold press watercolor paper, 2019 by Black Elephant Blog author

Since we had a gorgeous weekend, I found myself down at the Georgetown Waterfront where there is an unbelievably tranquil park. Enjoying gentle breezes and the surprisingly wide-ranging discussion with me (immigration, climate change, human trafficking, mangroves, wetlands…and how they are all interconnected!! So very impressive!) of a young lady visiting from Utah, I created the following scene without spending much time setting it up. The paper is amazing and so thick it would be shame not to follow up and paint something else on the reverse side.

Illustration: “Enid A. Haupt Garden,” Watercolor on cold press paper (2019) by Black Elephant Blog author

Earlier this year, I managed to get out and do other scenes of some parts in Washington, D.C. This city is famous for many things but people out of town may not be aware of how many absolutely gorgeous and well-maintained parks there are in this region, many in the heart of D.C. while others are in surrounding neighborhoods. It would be a shame to miss some of them no matter how short your visit. I’ve included below a few painting sketches from last year as well!

Illustration: “Springtime in Farragut Square,” watercolor on Arches cold press paper, 2019, by Black Elephant Blog author

Illustration: “Oak Hill”, watercolor, gouache, and ink on “15x “11 Arches 140# watercolor paper

Illustration: “Spring colors”, 15″ x 7″ watercolor, gouache and ink on Fabriano Traditional White 140# watercolor paper by Black Elephant Blog author

Illustration: “Orangery,” at Dumbarton Oaks, Georgetown, watercolor and pen-and-ink on Arches CP watercolor paper by Black Elephant Blog author (2018)

Illustration: “Sculpture Garden, National Gallery of Art,” Watercolor, gouache, and pen-and-ink on Fabriano Artistic paper by Black Elephant Blog author (2018)

Illustration: “U.S. Capitol,” Watercolor and pen-and-ink on Arches CP paper approx 14″ x 9″ by Black Elephant Blog author (2018)

Illustration: “Colvin Run Mill,” Watercolor, gouache, and pen-and-ink by Black Elephant Blog author

Journey through Childhood Memories

I’ve just returned from a two-week trip to Germany and Austria, mostly to visit with family but also traveling with close family.

Illustration: “Sunset in Heidelberg,” oil on canvas by Black Elephant Blog author (2019)

This turned out to be the long-awaited time when I would return to Vienna, Austria and the international high school from which I graduated many years ago.  It was so special to discover that I still recall the streetcar and bus numbers to get from the inner city to the outer district where my former school is.  The weather cooperated throughout this trip, with snow flurries and cold suitable for January (but no worse).  Lunch over in the neighboring wine district of Grinzing, with light snow falling outside and settling on ledges around the onion domes of a church across the street, finished off the visit to the outer district. Later it was back by the efficient streetcar system to the inner city and, from there again by streetcar, to the Belvedere Schloss to see Klimt art and other paintings.  We had a hot drink in its warm gold and ochre royal cafe with the Belvedere gardens outside covered in snow and a blue-purplish early evening light seen through the windows.

In such weather, however, and in a group of travelers there is less incentive to stop and try to paint or, more likely in such weather, draw.  Outside of Stephansdom, the main cathedral in central Vienna, one hardy soul was painting in oils in close-to-freezing weather.  He was set up to sell them so perhaps had an incentive to paint in his fingerless gloves out in the cold, but the prospect did not hold any appeal to me.

My trip also took me to the Pfalz area for a memorable wine-tasting, to Stuttgart, Karlsruhe,  Heidelberg, and much smaller towns along the Rhine; my early school years were in Bonn, Germany north of where we were on this trip.  One can get most anywhere at almost anytime on the dense network of streetcars, inter-city railroads, and the faster ICE, and in Austria, the OBB trains.  There was almost no need for a car (except for hauling all the wine home after the wine-tasting!)

Back home now, there is some time for reflection and recreation of scenes, including the memory of a sunset over Heidelberg in Germany, as this painted scene from the castle above the town recalls.  A special book in German about Heidelberg fell into my hands during the visit there, recommending itself to me through the wonderful watercolor on its cover and on plates throughout its pages.  It turns out to be a book by a former director of the city’s archives, chock full of history and insights.  Also in Heidelberg, we visited an amazing museum which can be found by going down a quiet drive into a palace area off of the main pedestrian street:  called the Museum of the Palatinate, it has excellent displays covering the history of the many peoples (Celts, Romans, various tribes) who settled in this area.  If you need to get off your feet for a while, you can take a snooze here on a cushioned Roman bench in a recreated Roman dining area; signs in German encourage you to do just that, so long as you take off your shoes!  (For artists and urban sketchers, it may be of interest that the LAMY headquarters is in Heidelberg and a new flagship store full of temptations is on the main drag in the old city.) There is something about travel, and seeking to restore a rusty foreign language ability, that awakens the need to create, to remember, to connect, and to imagine…so perhaps there will be more scenes from my youth coming to this blog.

Great Falls Annual Plein Air Competition

Days of high humidity continue but this hasn’t deterred plein air painters this week from getting out around Great Falls, Virginia during the 4-day annual plein air competition going on now.

Illustration: “Colvin Run,” Watercolor on Arches rough watercolor paper, approximately 11.25″ x 8.25″ by Black Elephant Blog author (2018)

I set up my easel on a gravel path on the grounds of the Colvin Run Mill, which was built in 1811.   It’s a still-functioning mill where mill stone wheels grind wheat and corn.  The grinding stone wheels set inside a hillside in the park here have caught my attention on previous visits.  I decided they would be my subject on this sweaty afternoon!

Illustration: Photo of author’s easel set up today at Colvin Run Mill, Great Falls, Virginia

Rain is in the forecast for the rest of the weekend so it’s hard to say if I’ll produce any more paintings in time for the contest’s deadline on Sunday afternoon.

Stop by the Great Falls Art Gallery on the Village Green if you’d like to see what area painters have produced during this competition–and this painting on the gallery wall!

Illustration: Photo of Colvin Run Mill Grinding Stones (Pinterest)

Line and Wash Watercolors

It’s been a busy few weeks–with a tremendously inspiring March for Our Lives making last weekend particularly memorable!   Art and sketching have had to take a back seat while so much else (much of it historically important) is going on….

With Spring finally here, however, there’s no question that the “plein air” kit of watercolors is going to get more use.  Thus, a refresher in “Line and Wash” watercolor sketching with pen-and-ink in the form of a two-day workshop this week was perfectly timed.  Below some of the paintings I completed in the workshop, the purpose of which was to combine use of pen (such as a fine-point Sharpie, black or brown, or India ink sketched with a bamboo stick) with watercolor washes.

Illustration: “Art in the Park,” watercolor and pen-and-ink on Arches CP paper by Black Elephant Blog author (2018)

Lots more to learn, as always, but it’s fun to be engaged in painting again.

Illustration: “Jackson Square,” watercolor and pen-and-ink on Arches CP paper by Black Elephant Blog author (2018)

Lake Reflections

August often surprises with some beautiful, low-humidity days in this area.  The beauty of nature never ceases to be awe-inspiring and, these days, a source of healing from a recent extraordinary loss and its ongoing shock waves.  So, out walking the dog earlier in the week, I took out a sketchbook again to try to capture the wonderful scene in front of me.  My personal goals included leaving some white on the page, and letting colors blend on the page even as I tried to keep them separate on the palette.  This is a neighborhood scene rich with weeping willows and even lily pad gardens.  Enormous pond reeds framed part of the view as I sat on top of an over-turned rowboat on the shore.  There’s something satisfying about plein air watercolor painting!  Sitting around this lake–never busy with visitors–is always soothing.

Illustration: Watercolor and pen-and-ink sketch, August 2017, northern Virginia by Black Elephant Blog author

In Colmar, France on the 4th of July

Illustration: Watercolor and pen-and-ink, “Colmar, France Street view” by Black Elephant Blog author (2017)

For those arriving in Colmar, France by car, it can be a big surprise to see a huge replica of the Statue of Liberty at the entrance to the city in the middle of a busy traffic circle.  And never more so, I imagine, for the unsuspecting arriving on the 4th of July, for that was the case for me recently.

Photo taken on 4 July 2017 at the traffic circle entrance to the French city of Colmar, France by Black Elephant Blog author

Thus it was that the next day I headed to the former home of the creator of the Statue of Liberty, Frédéric Auguste Bartholdi ( 2 August 1834 – 4 October 1904).  Now a museum, the Bartholdi home was not yet open for the day

Illustration: Pen-and-ink sketch at Bartholdi Museum, Colmar, France

so I spent some time in the shade of the courtyard sketching the sculpture in the middle, which is known as “Les Grand Soutiens du Monde” of “The World’s Great Bases”) representing “Justice, Labour and the Motherland” which was exhibited at the ‘Salon de Paris’ in 1902.  Unsurprisingly, there were other sketchers present in parks and leaning against fountains around the town.

Back out on the streets of Colmar, there was so much to see and do–and taste!  No

Illustration: Street scene in Colmar, France, watercolor and pen-and-ink

wonder there were so many tourists there, mostly from elsewhere in Europe and from Asia, it seemed.  We were on our way to new places much too soon, but so glad to have the experience of visiting Colmar, and knowing that if the opportunity arises, we’ll be back.

Scams, Shams, and (Body) Slams

While preparing for a presentation (and a little book stemming from it), and doing some color studies for sketches to accompany them, the news has continued to be very distracting as it is presumably for everyone. In the last 24 hours alone, from a journalist sent crashing to the floor allegedly “body slammed” by a person aspiring to elected office (or is he already in office?)–to confirmation from the CBO (Congressional Budget Office) that the health of our nation is going to take a huge body blow if the latest health care plan is passed–to disconcerting news about NATO (also “body slammed?”), it is tough to keep one’s eyes on the task at hand.  But perhaps the combination of these colliding impressions is good for something after all…

In sorting through older material, I came across the famous “boiling frog”–a metaphor, of course, for not noticing when there are gradual changes in your surroundings, until it is too late.  According to the metaphor, a frog in a pot of slowly heating water will not react quickly enough to save himself and will eventually die.  (This is literally not true; the frog will jump out if he can, apparently.  I myself have not tested it, but I respect scientists and experts and they have).

Image: Watercolor, gouache, and ink by Black Elephant Blog author (2014)

This is a week too in which we have heard the word “suborn” used in open testimony. It’s a useful word.  It seems related to another one rarely heard:  “inure”, which the dictionary defines as “becoming accustomed to something, especially something unpleasant.”  (Perhaps this is a good time to recommend a currently best-selling new little book, available on Amazon for less than $6:  On Tyranny:  Twenty Lessons From the Twentieth Century,” by Timothy Snyder, a professor of history at Yale.)

With so much coming at us almost hourly, it sometimes seems like the fate of the world is being decided right now.

Illustration: Color study, Watercolor, acrylic and gouache, “Where Do We Go From Here?” by Black Elephant Blog author (2017)

People are tired of being distracted by it but the most conscientious know that too much is at stake to turn away. Much as we might like to, we can’t tune out what is going on because it’s unfortunately true– the fate of the world is being decided right now.  And if we tune out, we will surely not be as fortunate as the sensitive frog who manages to escape the dangers of his warming world.

So, we must not become inured to the bruising pace of the news cycle.  It seems to me essential to find ways collectively to both deal with every incoming distraction and yet look beyond it to make sense in time of where we are going and might wish to go instead.

Momentous times indeed, but I have faith we will prove to be at least as smart as  frogs.  So back to the drawing board…

Wandering through older sketches to make sense of the present

Blog post writing has taken a bit of a backseat lately.  Preparation for classes could be one excuse, but it wouldn’t be true. I guess it’s because I’ve been doing more thinking than drawing in this age of discontinuity.  The recent blast of winter in this area complete with snow and ice this year sadly has been too much for the many blossoms and flowers that proliferated here during an unseasonably warm February. Even the geese on a nearby lake are a bit confused by the eccentric weather.

This sort of disorientation (yes, that exhibited by the geese–as in “where are we?”) has been mirrored by the befuddlement of many people around the world at the jarring reports of current political events, especially domestically–more on that below.  Just as the early blossoms thought that the Spring in February was real, we humans are confused as to the political climate we are living through….

Looking back to look forward sometimes is useful, as paging through older sketchbooks can remind one.  While looking ahead to a forthcoming exhibition of my watercolors and sketches, I came across a few of my sketches from the past:

Illustration: Watercolor sketch, “Dupont Circle,” by Black Elephant Blog author (2016)

Lately, with the sun briefly peering out again, there are more inspiring palettes to explore in the near future…

Illustration: Watercolor sketch by Black Elephant Blog author (2016)

On the geopolitical level of human affairs, the emerging palette is more complicated–even “complex”– a crucial distinction not yet as appreciated as it could be, though “complexity”–as in complex systems–is something we spend a lot of time on in the university graduate class I teach.  Making sense of complex problems is a necessary starting point to resolving them–and is too often a (very intellectually-demanding and time-consuming) step skipped over, as we have recently seen an example of in the healthcare arena.

Similarly understanding this moment in our collective human history requires us to draw from the experience “palettes” of a wide variety of people in order to understand our true options going forward.  I would include in this “experience palette” respected contemporary professors of history, such as Dr. Timothy Snyder–whom I had the privilege of hearing speak in person at a local bookstore recently.  People doing fresh thinking about economics also have an essential role

Illustraton: Watercolor, “”The Thinker’ at the Entrance to Rodin Museum, Philadelphia, PA” (2017) by Black Elephant Blog author

to play in the efforts to apply different palettes to our common future.  And a look back to the founders and founding documents of this American nation would also be essential, as I just did a week ago by wandering through the National Constitution Center in Philadelphia again.

It’s true, at least for me, that once you become accustomed to painting–and more vitally, living and making choices– in ‘plein air,’ it’s harder to settle for bleak cold days–whether due to the weather or the political climate.

We can call up sketches of the past to help us make sense of the present.   Are the things which divide us still more important than taking stock in a clear-eyed way of what actually has happened and what pathways forward lie ahead?  These processes are sometimes known as “scenario practice,” “forward reasoning,” and simply “foresight”–also processes we focus on in class. There is no end to the usefulness of learning we can gain from those who have studied the past, I’ve concluded.   As Professor Timothy Snyder tells us in his work linking the history of Eastern Europe to our present, the choice is (still) ours to make.

 

Goodbye to a Tumultuous Year

Illustration: Watercolor by Black Elephant Blog author (December 2016)

As 2016 winds down, it’s fitting in the quiet week before a New Year to consider the meaning of Black Elephants, Black Swans and the other metaphorical creatures of surprise, such as the boiling frog,  who opened up this blog two years ago this month.  There’s been a lot more attention given to them since then in other venues.  It’s surprising but true.  It’s equally surprising but true that the journey of many artists has, it seems to me, much to offer the rapidly changing world in which we find ourselves today–if we were to want to face up to these creatures of surprise.  This is because artists often try to see beyond the surface impressions to get at the truth of things–that’s what gives art its special meaning to many of us.

One could even say that we live in Black Elephant times if, by that, what we mean is what Thomas Friedman referred to in his op-ed of two years ago, called “Stampeding Black Elephants.”  In that article, he defined the metaphor “Black Elephant” as follows:

 “a cross between “a black swan” (an unlikely, unexpected event with enormous ramifications) and the “elephant in the room” (a problem that is visible to everyone, yet no one still wants to address it) even though we know that one day it will have vast, black-swan-like consequences.”

As I understand it, the phrase (which Friedman picked up from an environmentalist he’d recently met) “Black Elephants” refers to the concept of the uncomfortable, unthinkably unpalatable “elephant in the room” that we would rather not discuss or acknowledge, and therefore–too often–fail to address in time.  (This is also known as the “boiling frog syndrome,” or the “ostrich with its head in the sand,” or the “deer in the headlights” syndrome, etc.)

Image: Watercolor, gouache, and ink by Black Elephant Blog author (2014)

This concept covers the increasingly (but extraordinarily dangerous) popular tendency to avoid what the accumulated history of knowledge and scientific progress tells us to be true. And so, perhaps it is another “Black Elephant” to observe that these “elephants” may be multiplying right now (paradoxically and quite sadly as their real-life versions dwindle in number due to poaching and encroachment on their natural habitat.)  Facing up to these “elephants” is something that calls for well-honed critical and creative thinking skills–whereby people of all backgrounds including, of course, artists–join forces in shedding new light and creating new possibilities for dealing with the challenges of today in a fact-based way.  This is in fact how mankind has conquered so many diseases that previously killed so many in childhood.  Understanding how innovative breakthroughs occur,and accelerating our society’s capacities for innovation in so many sectors, are right now key to survival on a collective level.

Fortunately there is more awareness of these challenges, as well as our own inherently human desire to ignore them–aided by the fact of more frequent “black elephant” and “black swan” events in the last two years alone.  It turns out this awareness extends well into the suites of CEOS around the world.  I refer in particular to a recent paper, Thinking the Unthinkable: A New Imperative for Leadership in a Digital Age, which I’ll turn to soon.  Last month I had an opportunity to hear the authors brief an audience on their research findings, and found their conclusions compelling enough to include in a revised syllabus for the coming semester of classes.  Interestingly, they too distinguish in their report between “Black Swans” and “Black Elephants”; the creatures of surprise are everywhere!

Illustration: Watercolor, gouache, ink, pencil, gesso, and coffee grounds by Black Elephant Blog author (2014)

But for now with another spring-like day of temperatures in the 60s Fahrenheit, it’s time to be out enjoying the warm December weather, and re-charging our own personal energy reserves for what promises to be a challenging 2017!   Best wishes to all for a joyous New Year!

Painting Pan & Avoiding Panic

Painting in the outdoors, or “plein air,” is a popular past-time for artists and great practice for everyone who wants to learn to appreciate their surroundings with new eyes. I am most likely to be found doing this on weekends when I have painting pals who want to be outdoors.  But a few (most, actually) of the people with whom I correspond do not have much time to paint whether in or out of doors, so I thought I’d write a post about what art is teaching me about readiness for the unexpected.

The other day, I found myself in a setting devoted to sustainable gardening and wild meadows where my subject turned out to be a small garden statue of the ancient Greek god of the wilds, fields, and flocks, Pan, with his man-like body and a goat’s hind legs.  The word “panic” is derived, I’ve since learned, from Pan’s name.

Illustration:  Photo of garden statue of Pan at the River Farm, Alexandria, Virginia

This subject promised to be challenging, especially given changing circumstances. Sunlight vied with overcast skies, changing the shadows on the figure every few minutes.  In addition, a wedding was scheduled for these very grounds in a short time, so planning ahead was of the essence.  First off was a quick sketch to familiarize myself with this scene, and gain some idea of lights and darks.

Illustration:  Quick sketch in terracotta watercolor pencil by Black Elephant Blog author

Such a sketch can boost confidence for the next step, though it is true that you never know how a sketch is going to turn out and many sketchbooks, like diaries, are private partly for this reason.  Nor, increasingly, do we know what we will face, so sketching (or  a rehearsal or a “scenario”of any kind) is a way to increase our readiness for the unexpected, a subject that received more attention in the early days of this blog.

Seeing Things Differently and Avoiding Panic  Learning how to see in different ways, sometimes very quickly–including connecting with others who see things differently–is fundamental to survival, not only for the artist.  It has been called various things including cognitive agility, mindfulness, and “rapid reflection.” But I’ve observed that it often doesn’t get the attention you’d expect for something so critical.  In fact, in too many places, people are incentivized to ignore the unfamiliar and to treat it as irrelevant until an altogether too-obvious change in the status quo forces (some of) them to reconsider…and sometimes that is too late.   (Even in the absence of crisis, such a disinterest in the world can harden into a lack of curiosity which calcifies one’s situational awareness at a dangerously low level.  This has proven in the past to be particularly bad for living species of all kinds–not to mention modern-age businesses–and is especially risky in today’s world where we–and all our things, such as watches, cars, and phones–are more interconnected than ever before.)

Illustration:  Watercolor on Arches Hot Press by Black Elephant Blog author

Topping off this day  of plein air painting was the opportunity to see the movie, “Sully,” on the inspirational pilot and the first responders on that incredible day when a fully-loaded passenger plan had to land on the Hudson River.  From painting Pan in the wilds, I was confronted with wild scenes that would leave most of us panic-stricken if we were in the midst of them.

Illustration: Photo from indiewire: http://www.indiewire.com/

But this is a film of human strength and prowess, strong team work, and genuine leadership.  From the pilot and his co-pilot, to the crew, the ferryboat operators, air traffic control, and many other responders, the rapid response to this unprecedented event demonstrated the value of consciously preparing (across disciplines, stovepipes, and other boundaries) for the unexpected.    In this case, one imagines that such pre-crisis teamwork contributed to enhancing preparedness for an unprecedented situation.  Remembering the importance of the  “human factor”, as per Sully when he explains himself to the NTSB (National Transportation Safety Board), is the critical difference.  His performance seems to be an example of “rapid reflection” crisis management in action; this film carefully adheres to the facts of the crisis as it actually unfolded and, therefore, truly is a “must-see” for all those in top management, whatever the field.

I’ve been reminded regularly that true artists respect unintended consequences  whereas experts of other stripes too often don’t.  Artists regularly experiment with techniques and materials, and absorb others’ approaches like sponges; many experts of other stripes too often don’t. There is seemingly an important paradox in this.

In an age when many clearly believe it is more acceptable to bash experts than to emulate them, the aspiring artist knows that study of others’ solidly perfected techniques–and, beyond this, historical appreciation as to what has been humanly possible and achieved over time–leads to greater consciousness of our individual shortcomings and more rapid recognition of the truly exceptional (as the film, Sully, also reminds us).  Recognizing these gaps can inspire us to be more curious and to learn more.  At the same time, experts themselves must prepare for circumstances never before seen (and, thus, for which there is no sketch, textbook or field of expertise). Indeed, a certain cognitive and doctrinal flexibility seems necessary, at a minimum, lest very deep expertise lead us to think that everything can be scripted, measured, and predicted ahead of time–as the differences between the NTSB and Sully demonstrated in the film.

The artist with skill in applying paint (or ink or any other medium) to paper or canvas–and expertise such as pilot Sully’s extraordinary tacit knowledge of the limits of his airplane, his ability to derive quickly from different inputs the most sensible course of action, as well as his abiding awareness of the value of human life–demonstrate human capacities  that total reliance on computers, for instance, or checklists can never achieve.

So, while it is true that you generally don’t want the pilot of your commercial jet to be creative in getting you from point A to B, the movie, Sully, does show us that adaptation in the face of the unexpected requires a degree of mindfulness  (and openness to ongoing learning) that cannot be assumed.  At their best, therefore, artists and experts of all types, whether commercially successful or not, seem to combine deep knowledge with a degree of cognitive flexibility that is hard to sustain from deep within “stovepipes” of all types, from academia to industry.  Dealing effectively with this conundrum seems to me to one of the most important things we could do these days.

Watercolor Sketching Around San Miguel de Allende, Mexico

Getting away from it all is pretty easy in San Miguel de Allende, Mexico, a little bubble of old world charm, at least in the historic center.

Illustration: Watercolor and pen-and-ink sketch. “Sidewalk Cafe in San Miguel de Allende, June 2016” by Black Elephant Blog author

This is a city with strong traditions and connections to the arts–all of them from weaving to dancing, music to painting–and a place where there is some sort of fiesta, complete with parades, moving around the central “Jardin,” nearly every day.

Illustration: Watercolor and pen-and-ink, “Belles Artes,” by Black Elephant Blog author

The downtown area features cobblestone streets, narrow stone sidewalks, little shops, and beautiful architectural details, as well as some fascinating trees in the “Jardin”–central square– which are regularly clipped to maintain their squarish umbrella-like covering over the benches.  A main “activity” in this town is people-watching here in this square,  and listening to the the mariachi bands playing for paying customers.

Illustration: Watercolor and pen-and-ink sketch, “Jardin in San Miguel de Allende” by Black Elephant Blog author

There is so much to sketch and record here that it’s probably going to take more than one post. Nearby, of course, are more attractions, such as the former silver-mining center of Guanajuato, a gorgeous city built into a canyon, and south of here is Mexico City. So I will post a few more sketches in the days ahead…

Valuing the Value Study

There’s nothing like being reminded for the umpteenth time to do a “thumbnail.” For those who don’t know, this is a (usually small) simple sketch or two before attempting to dive right into drawing or painting the work you have in mind. Often it takes a teacher to get through to you on this; for those more accustomed to “multi-tasking” and thinking it is doing some good, it requires a bit of discipline to keep slowing down.

Illustration: Value study sketch (Hillwood Mansion grounds) by Black Elephant Blog author

In my experience, this business of reinforcing what we’ve already supposedly learned is one of the main benefits of keeping anchored in a class or two–so that your habits do not become too sloppy. And of course you keep learning new stuff even as you are reminded about the “old stuff.”

So, in the current class in pastel painting, the teacher handed out this handy little value chart (which I’ve protected in a little plastic sheath–see photo below).

Illustration: Photo of value scale

When we do thumbnails or sketches, one purpose (besides mapping out a composition) is to do a value study–a study of the “values” or the tones or shades of contrast. While it is tempting (and normal) to jump right to the details, I have learned that the details often blind us to the really important things in art (and elsewhere?…) –like values, shapes and shadows. This requires re-training the brain for many of us.  Doing value studies is the most direct form of problem-solving I’ve encountered so far in my art education. (And it seems quite transferable to other fields requiring problem-solving.)

While can be more fun to jump straight into colors (and sometimes, depending on what you are seeking to achieve, it is a good idea!), learning to see the values, shapes and shadows has its own delights. Doing this in different media, including water-soluble graphite…

Illustration: Value study in water-soluble graphite by Black Elephant Blog author

and conte crayon

Illustration: Conte crayon value study of Richard Serra metalwork sculpture (East Wing, National Gallery of Art) by Black Elephant Bog author

also provides valuable learning opportunities.

So during a recent visit to the majestic, privately-run Hillwood Museum and Gardens estate in the heart of Washington, D.C., the grounds were so beautiful underneath a

Illustration: Garden sculpture at the Hillwood Mansion and Gardens, Washington, D.C. –Photo by Black Elephant Blog author

clear blue sky that it was nearly impossible to go inside. Instead the sights of flowering trees and bushes, the gentle slope of the “Lunar Lawn”, and ornate garden sculptures were captivating. Frankly, it was a challenge to detect the “values” in different shades in such a riot of bright color. In addition, the diversity of people, from all over the world, and particularly Russian families, made it an even more memorable afternoon.  (The Hillwood Estate of Marjorie Meriweather Post features the most comprehensive collection of Russian imperial art outside of Russia, according to its website.)

Such a glorious visit to the Hillwood mansion gardens has provided much fodder for future practice in value studies and beyond…

•    A small Japanese garden, for instance, features two   whimsical bridges, leading to a roughly sketched out ‘work-in-progress’ in pastel.

• And, a toddler sitting in the tall grass already has provided inspiration for a series of sketches and value studies…
  

  Illustration:  Sketch of Toddler sitting in tall grass at Hillwood Mansion, Washington, D.C. by Black Elephant Blog author

Going Pastel

Joining the ranks of the pastel artists can feel like crossing over to another world; upon introduction where one is welcomed with curiosity, we mention our “medium” and this apparently already says a lot about us to the pastel artists.  Like how we approach a piece of paper, and what color our paper usually is (white, in the case of watercolor people).  Everything we have learned is just the opposite in pastel, where among the pros the affection for this medium is a self-declared addiction.

Illustration: Pastel by Black Elephant Blog author

Like every other endeavor, there’s a certain initial outlay that’s unavoidably necessary when seriously endeavoring to take on a new medium.  Pastel has its own papers and tools. I started with a box of 96 NuPastels and was quite amazed at the colors they produced.  But for blending and other effects, the more experienced all have additional favorites, and it can “add up” pretty quickly.  (I was really glad the NuPastels worked so well as I felt less compelled to immediately go out and stock up on the allegedly even better stuff.)  In addition, pastel pencils are necessary for finer details.  There’s lots to experiment with…  Most of the members of the group I’m learning with have a headstart and produced wonderful things some of which seem like frescos ready for display.  There’s another exciting journey ahead!  And another medium, pretty well-suited to urban sketching, by the way, to add to those I’ve already adopted.

Santa Fe Sketches

Illustration: Pastel by Black Elephant Blog author on grey Canson Mi-Teintes Pastel paper

New Mexico in the early Spring: bright yellow flowers in the snow, white drifts on mountain peaks in the distance, terracotta adobe houses hugging the hillsides, a fresh cold air that catches your breath, a startlingly blue sky, a lovely teahouse along Canyon Road…

From museums, churches, markets, and  hundreds of beautiful outdoor sculptures to parks, shops, and restaurants, there’s much to see and do… and sketch. But on this trip the temperatures have generally been too cold for much outdoor sketching.

Even finding the time to complete a sketch can be difficult with all the attractions all around.

Illustration: Sketch on Strathmore Aquarius II paper by Black Elephant Blog author

There’s the Georgia O’Keeffe Museum, for instance, which brings the story of this amazing artist alive, ensuring that one wants to know more.

Illustration: Georgia O’Keefe’s paintbox on display under glass at the Georgia O’Keefe Museum

And the hundreds of years of history on display in the New Mexico History Museum inside the Palace of the Governors on the Plaza.

 

The colors of the hills and mountains that have made this area a favorite of artists for many years did not disappoint.

 

Illustration: Watercolor sketch, “South of Taos” on Strathmore Aquarius II paper by Black Elephant Blog author

With its rich history, intersection of cultures, and mix of ancient and modern, Santa Fe is a mecca for artists of all kinds. It’s easy to see why they call it the Land of Enchantment!

 

 

 

 

 

 

Hellenistic World Bronze Sculpture Exhibit

There’s one more week left before the inspiring “Power and Pathos: Bronze Sculptures of the Hellenistic World” closes at the National Gallery in Washington, D.C. Seeing these exquisitely detailed figures from two millennia ago, and knowing that quite a few of them were discovered only recently, in some cases at the bottom of the Mediterranean, leaves one simply amazed.  As a whole, the exhibit is stunning; the alcove with the bronze statue of Artemis and the stag is so beautifully designed that it almost demanded to be seen, again and again, on multiple visits.

Illustration: Pencil sketch of bronze medallion with the bust of Athena (c. 150 B.C)–the ancient Greek goddess of wisdom–by Black Elephant Blog author

According to the exhibit catalogue, between the late seventh and second centuries B.C., Greek sculpture of the time was most distinctive for “its obsession with ever greater naturalism.” Thirty-four museums in thirteen countries on four continents contributed the sculptures that made this exhibit possible, an example of extraordinary international cooperation involving priceless treasures.

According to the organizers, this exhibition is unprecedented in its scope and ambition. Although marble sculpture was more common in Hellenistic times, bronze sculptures, such as those in this exhibition, were more “highly prized in antiquity.”  Unfortunately, since bronze was “easily melted down for recycling,” many of the sculptures were melted down and repurposed over the years.  Thus, “thousands of spectacular [bronze] sculptures produced throughout the Hellenistic world have disappeared from the archaeological record” and the finest of those that have survived are in this exhibition, say the organizers.  It’s an unforgettable experience for those who have a chance to see it.

Profiles in Watercolor

An out-of-print book, called Watercolor Solutions, by Charles Reid, is proving helpful in slowing down enough to grasp some important concepts related to watercolor painting! The book can be borrowed at a local library or you can pay about $50 for a used copy.  Reid is a highly respected watercolor artist and teacher who has an excellent way of explaining things; there are a couple of his lessons on YouTube.

In his book, he explains things as basic as how to hold, wet, and shake water off a brush. In addition, he explains how to mix colors on the palette and directly on the paper.  There are exercises in drawing profiles, portraits, and figures.   Reid recommends abandoning sketching, and to instead do contour drawings by keeping your pencil on the paper and doing one line (outline), stopping only to check on your location, but not lifting your pencil from the paper.

Here is one practice watercolor I did based on his instructions:

Illustration: Watercolor and pencil sketch on Arches 140 1b CP paper by Black Elephant Blog author

and another based on Reid’s explanation on “Adjusting Values from Photos”.  This latter section inspired me to try my hand at practicing the values by trying to copy Reid’s own method of  painting of John Singer Sargent  at work painting.  What is fascinating in this section is his description of how to “lose edges.”  It means focusing exclusively on shadow shapes and not, for instance, where the edges of an umbrella or neckline or coat are; the purples below thus sort of run together, per Reid’s own painting example on p. 85 of the hardcopy of his book.

Illustration: Copy after “John Singer Sargent” by Charles Reid in watercolor and white gouache with pencil underdrawing on Arches 140 lb CP paper by Black Elephant Blog author

 

From this experience so far, it is clear that there are good habits to work on developing, related to how much water is on the brush and how the colors are mixed and used.  Aside from all the lessons in the book, another challenge is not to ruin a library book with paint splatters.  Reid’s explanations are so helpful; it’s clear that complementing class instruction with a book like this is the way to go, at least for me (and maybe for some others!)

 

Sketching-on-the-go

Sketching is about solving problems, sometimes very quickly and–interestingly, in most successful art, according to professional artists–over-riding what your analytic brain is telling you.  It involves careful observation, composition, shading, meaning, and even purpose (including story-telling and “narratives”) usually within some constraints related to time or weather or materials or ability. This week just having a pencil in my bag has made a brief ride on the subway more interesting.

Illustration: Pencil sketch on notepaper using Staedtler 0.7mm mechanical pencil by Black Elephant Blog author

But sketching people “live” is fraught with complications.  At a minimum, when people know they are being sketched, they typically no longer act naturally.  Some people are intrigued, or even flattered, while others–especially women, it seems to me–are mildly alarmed or annoyed.

Illustration: Pencil sketch in Stillman & Birn Alpha series sketchbook by Black Elephant Blog author

Experienced teacher-sketchers advise inviting the subject to see (or even accept as a gift) the sketch if you, the sketcher, are detected sketching; that will sometimes ease tensions.

Illustration: Pencil sketch by Black Elephant Blog author

In some countries, the idea of sketching people without their approval seems to cross a line of propriety.

In any case, a sketch is generally not a finished painting-like piece, but a way to practice and even expose your weaknesses in drawing. The sketch below, done in a brief spurt this week while waiting in a cafe for someone to arrive, shows my botched effort to depict a drawing of a planter painted on the wall to the rear.

Illustration: Sepia graphite (Artgraf Tailor made in Portugal) water-soluble wash in  Stillman &Birn Beta series sketchbook by Black Elephant Blog author

In the end, it really doesn’t matter because it’s sketching, which falls into the category of rehearsals, practice, and education. Even focusing on an umbrella, or a toe, can be a useful sketching practice.  I was using ArtGraf sepia graphite in water-soluble form for the first time, and that was really fun.

View from a Schoolhouse Window

Things have been quiet(er) on this blog as the new school semester gets underway, and snow and icy conditions have made our class schedule slip and slide a bit. But in that class, despite a delayed start, we are putting our best foot forward on some challenging subjects.

Illustration: Watercolor and bistre ink wash, “View from a Schoolhouse Window” by Black Elephant Blog author

In addition, “feeding the beast” (more on that soon) tends to get in the way of efforts to sustain a creative environment (the promised look at obstacles to creativity is therefore still pending). On top of this, learning how to do portraits in watercolor (a very high bar to cross) is taking up considerable time and effort these days; getting those skin tones just right, and learning what to leave in and what to leave out is super difficult.  But our teacher is inspiring, to say the least, and some colleagues in class are taking this course for the third time!  I myself am in it for the second time. It makes sense, though, that capturing the reality of the human spirit with a few dabs of cadmium red and yellow (with some yellow ochre for good measure) and raw sienna, and perhaps some cerulean blue for the shadows,  would not (and should not) be easy.

Driving Innovation on the Fuel of Creativity

When Bill Gates says, as he did recently, that we must “drive innovation at an unnaturally high pace” to transition to a globally-applicable non-carbon source of energy in time (to save the planet), it raises the question (or ought to) of what’s involved in doing that?  If creativity is the “fuel” of innovation, how does one go about gaining and sustaining that fuel source?  Do we wait, in a comfortable sunny spot, for inspiration to hit us?

Illustration: Watercolor, gouache, graphite and bistre ink by Black Elephant Blog author

Sometimes we think of creativity as something that occurs to us when we are relaxed, doing something routine like driving through a toll booth or even–or most likely–when we are doing nothing at all…  Is that what we must accelerate?  Or are there more reliable means of spurring and sustaining innovation (and creativity) ?  There have been a number of books on this subject, including on the need for “entrepreneurial states,” but in fact there’s been little noticeable tie-in of this material to the renewable energy challenge Gates and others are highlighting.

With the onset of a new university semester (as soon as suitable paths to class are plowed through the snow) looking at some of these issues, and investigating what it means to be innovative, or creative, in the workplace, this blog soon will turn to the experience of Pixar Studios as related by its co-founder, Ed Catmull, in Creativity, Inc.:  Overcoming the Unseen Forces That Stand in the Way of True Inspiration, (New York, Random House, 2014).  Some of what he has to say may surprise you but all of it is relevant to all of us when tied to prospecting for pathways to a sustainable energy future.  How to sustain a creative work environment is the challenge, and the theme, of this book–to be highlighted here soon.  Given that the author is from Pixar Studios, it comes as no surprise, but still is surprisingly fascinating, to see that he has a lot to say about art, sketching, paying attention, and hand-drawn approaches to animation.  Coming up next…

Wax-Resist & Creative Intelligence

A recent two-day artists’ workshop in “wax-resist techniques” provided loads of food for thought not just about this artistic process but also about the importance of thinking ahead to what you are trying to achieve…and how to get there.

Illustration: Tulum, Yucatan Mayan structure in ink wash (Higgins waterproof black India ink) with wax marks, charcoal, Conte crayon, and Char-koal pastels by Black Elephant Blog author

It is normal to fall back too readily on what we think we know and on what we expect to see, and this blocks our ability to learn new things and see things in new ways–  which is so fundamental to art, innovation, business success, and progress.  As Ed Catmull, the author of Creativity, Inc. (Random House, New York, 2014) writes, “the best managers make room for what they do not know… not just because humility is a virtue but because until we adopt that mindset, the most striking breakthroughs cannot occur.”

As a newcomer to the wax resist technique, however, I found myself falling back onto old habits and ways of thinking.   Without a doubt, these were blocking my ability to internalize and apply these new approaches.   The wax resist approach, like any other truly artistic approach, benefits from taking a great deal of time studying the subject first.

“This process insists that you have a goal or else you get into trouble,” warned the instructor. “The wax is not forgiving,” he said.  “Everything you don’t plan” comes back to bite you.

The process involves repeated washes, first with plain water, and then ink washes, and a lot of intervals of drying the paper.

Illustration: Drying the paper after one of the ink washes (after an initial waxing of the image)

This activity needs a large workspace that is forgiving of water drips and ink splashes!  The stipulated paper dimensions in this workshop were large too, so as to better capture details with the wax.  This paper  takes a beating, with multiple washes, and being hung to dry on a line after each wash (often after some time on the floor so that still wet ink wouldn’t run down the page.)

What is difficult to realize ahead of time is the repeated and gradual nature of the process of building up the darks and the clever use (not over-use as in the example here) of the wax.  This is not about painting or “rendering”, but it takes a while for the novice wax resist-user to grasp this.

Illustration: Photo of some of the materials used in the ink wash and wax resist project

Now that class is out, there’s so much to practice.  Fortunately, the necessary supplies are readily available–such as Gulf Wax which can generally be found in a grocery store.  It’s the thought process that is more difficult to acquire.  It takes time and guidance, persistence, and, for the best results as demonstrated by our instructor, clearly some enormous talent that few of us can assume.

This workshop was an extraordinary learning experience relevant to much more than art. It underscored the huge gaps in our thinking processes when it comes to learning how to re-perceive what is right in front of us.  Such ability to reframe the obvious in new lights (and darks) is key  to achieving anything artistic, let alone the sort of breakthrough innovations we increasingly acknowledge are needed for (nothing less than) the future of the planet.   Strategic and design thinking come together in use of wax resist in this process, as well probably in other applications, such as watercolor painting.

Illutration: Watercolor and pen and ink sketch of Mayan structure at Tulum in Quintanaa Roo, Yucatan by Black Elephant Blog author

For goals of still larger scale, such as enabling a global transition to a low-carbon economy, how to create environments that can accelerate our ability to grasp these ways of thinking will be the subject of future posts.  The experienced artist who also is an effective teacher has a crucial role to play in the transition to the needed new thinking.

 

 

Urban Sketching on the Maya Riviera

Illustration: Photo of the view in the direction of the island of Cozumel from the central plaza of Playa del Carmen, Mexico, New Year’s Day 2016

On New Year’s Day 2016, temperatures here in Playa del Carmen, Mexico (about an hour’s drive south of Cancun) were in the low 90’s but the heat and humidity didn’t seem to be slowing people down.  With Mexicans enjoying the day off, people were  out in large numbers by late afternoon to enjoy the beach and calm sea.

Earlier in the week, the weather was somewhat cooler with breezes, making it possible to sit at the Central Plaza in the town and enjoy a performance of the Voladores de Papantil, or the “Flyers of Papantil.”

 

 

 

The Voladores do this performance several times a day.  Each time, an international crowd joins local residents in admiring the colorful costumes and traditional performance and music of the flying artists.

 

Illustration: Watercolor and pen and ink by Black Elephant Blog author of the Voladores of Papantil getting ready for their flying performance from a 75 foot high pole in the central plaza of Playa del Carmen, late December 2015

 

Not far away are the only “free admission”  (in quotes because the ruins are located on the grounds of a gated community) ruins of the ancient Mayan civilization–at Xaman Ha.  This amazing sight comprises several complexes of small temples, structures and walls, gently shaded under the  canopies of royal palms throughout the elegant “Phase 1” and “Phase 2” of the vast Playacar condominium community adjacent to Playa del Carmen.

Illustration: Watercolor and pen and ink by Black Elephant Blog author of “Xaman Ha” site of Mayan structures on the grounds of Playacar, south of Playa del Carmen, Mexico, late December 2015

Back in town, the Quinta Avenida (“Fifth Avenue”)–lined with scores of restaurants and shops–bustled with tourists and locals all week, with evenings so busy that a literal sea of people moved up and down the street in both directions.  One can hear Japanese, French, Italian, Spanish, Dutch, and English–as well as reggae and hits of the 80’s– all around you in the space of a single block here.

Illustration: Watercolor and pen and ink (Kuretake brush pen) by Black Elephant Blog author, “Waiting for Customers on Fifth Avenue in Playa del Carmen” in late December 2015

Despite the bustle, it’s been a calm scene–with tranquil aqua blue seas nearby welcoming all to take a dip to escape the heat, and the bartenders more than ready to cut open a cold coconut for you, served with lime, –or a cold cerveza, if that’s what you prefer–for a refreshing drink when you need one (which is often in this heat)!

It’s been a great start to a new year, that’s for sure; and I hope it’s been the same for you.

A beautiful Guacamaya at the Aviary at Xcaret in the Yucatan  (Photo:  Black Elephant Blog author)

Anniversary Sketch

Illustration:  Terracotta pencil sketch of a neighborhood lake scene in the early fall, 2015 by Black Elephant Blog author

This week marks the one-year anniversary of this blog, and so–some 80 posts later–it’s been nice to know there’s been some readership (several thousand different visitors from more than 40 countries, in fact.)  The blog’s proven a great opportunity to see and connect with extraordinary talent out there in the blogging, twitter, and urban sketching world.

Also thanks to the blogging connections, it’s been possible to locate great people with many of the same interests I’ve had regarding the quality of paints, papers, pens, and pastels, and other such questions.  (Indeed, there is a whole world out there of pure ‘materialists’ when it comes to art supplies–some with stashes of sketchbooks and inks and paints that would put most bricks-and-mortar art supply stores to shame.)  Everyone is eager to share their experiences–and ideas of great bargains.  Full-fledged engineers have even offered their comparative and very detailed analyses of paints, inks, and pens on their blogs.  Whatever your question on whatever subject, clearly someone has likely already addressed it by now.

In addition, it’s been a year of exploring “adjacent possibles”–spaces where creativity and innovation occur despite the pressures of everyday life.  The coming year on this blog will be devoted to the concept of experimental syntheses–putting experiments together to create new possibilities, and even different futures.

Carousel Study

The fall’s been spectacular here, with nearly every day too nice to spend inside. Between meetings, a fantastic opportunity to see original John Singer Sargent watercolors up close, and driving from point A to point B, however, it’s been tough to get a sketch in.

But here’s an attempt this week to capture the twilight and the fading but still beautiful fall colors as a carousel made its last rounds of the year opposite the American Museum of Natural History in Washington, D.C.

Illustration: Watercolor and pen and ink study by Black Elephant Blog author

Next up on this blog, coverage of an excellent in-town and in-home salon event this week–an event that gathered attendees from diverse fields including the military, art, the media, consulting, energy research, and psychology–featuring the author of a new book on Strategic Intelligence: Conceptual Tools for Leading Change, Michael Maccoby, (Oxford University Press, 2015).

Still Lifes from Audubon to Warhol in Philadelphia

Passing through Philadelphia this week, today was a fine day–full of heavy clouds and steady drizzle–to visit the new exhibition of American still lifes at the Philadelphia Museum of Art.  Arrayed in a generous space, it was easy to follow the curators’ concept for the display.  This was not a day to be out in the rain more than you had to be, but some workmen in front of the museum were busy putting up the Christmas tree. It was quite an undertaking, with cranes, trucks, and cables.  One could see that, were this tree to topple, it would be quite a to-do.  But there were no mishaps, and gradually holiday lights are appearing all over the place!

Illustration: Watercolor and Platinum Carbon pen and ink sketch by Black Elephant Blog author

Taking Note: Art, Torpedos, and John Singer Sargent

Hundreds of art-lovers crowded last night into the Torpedo Factory on the waterfront in Alexandria, Virginia to hear a long-awaited talk by Richard Ormond, a Victorian painting specialist, art curator, former deputy director of the National Portrait Gallery in London, and expert and author of several books on John Singer Sargent, an acclaimed American 19th century artist.

Illustration: Watercolor and Platinum Carbon pen and ink by Black Elephant Blog author

For two hours, the attendees sat on metal folding chairs arrayed on the concrete flooring and beneath the dim light, exposed pipes, and fire sprinklers of the Torpedo Factory’s art gallery atrium.  Due to the narrowness of the hall, more than half the audience relied on a second  projection screen set up mid-way in the atrium.  Others were perched on seats on a narrow overhead bridge connecting the two sides of the gallery.  Some were dressed up as if attending an event at the Kennedy Center, apparently happily oblivious to the warehouse-like surroundings.  There was a buzz of excitement inside but outside still more hopeful attendees unfortunately were being turned away at the door.  (This free event was solidly booked and “sold out” by late summer, if I remember correctly.)  This was the event to be at at the bottom of King Street last night!

Amid the torpedo relics still on display in this popular art gallery and school (once an actual torpedo factory, as its name suggests), Ormond presented a lecture that reviewed Sargent’s life and works chronologically.

Illustration: Photo of new book on John Singer Sargent with introduction by Richard Ormond

A grand-nephew himself of John Singer Sargent–whose sister, Violet, was Ormond’s grandmother–Ormond weaved personal details and black-and-white photos from his childhood into his talk.  Images of Ormond and his brothers as young children flashed up on the screen briefly, for instance, sitting on a wall in Switzerland on what he described their first outing away from London so recently under siege in World War II.  Sitting in an old torpedo factory which was the site of feverish activity at that exact time and listening to this gentle art expert was a study in contrasts in itself.

For anyone reasonably well-read on Sargent’s story, it is unlikely there was anything really new or riveting in this talk.  Indeed, in the short Q&A session which followed, the apparently previously submitted questions were those meant for an expert curator such as Ormond and even concerned future exhibition plans of the letters and works of another artist.  These were the questions of specialists for a specialist.  But, a day later, there were a few points Ormond made that linger in the mind:

• He noted that Sargent maintained an “active dialogue” (through perceptive observation, not speaking) with his sitters, so that his portraits conveyed the liveliness, the powerful personalities, and even the “tigress”, in one case, that was in his models.  Sargent’s analysis was not one of passive disengagement and objectivity. He was capturing, and captive of, the essence of his models–a very subjective approach to interpreting reality.
• Ormond also noted that Sargent considered “public art,” such as the murals he trained himself to paint, the highest form of art (as opposed to art held in private collections).  This is one reason he resisted selling his watercolors.
• Ormond also displayed a photo of the artist’s oil painting of “Gassed” from 1919 showing British soldiers blinded from the use by the enemy of mustard gas in World War I.
  

  Illustration: Image from Wikipedia

Perhaps the biggest take-away of the event was the appearance and bearing of the speaker himself, someone who has devoted a half a century to the study and promotion primarily of John Singer Sargent, and whose familiarity with exhibits and the world of museums and archives is therefore likely second to none.  A second takeaway was the makeup of the audience, generally older afficionados of this art community, many of them past and current students in the Art League School.  It was, in this sense, a powerful community event combining both appreciation of a great artist’s powers of observation and appreciation of beauty at a time when our sensibilities and priorities globally sometimes seem dulled to both.

October Water Scenes

Some people were out starting their weekend early on a spectacularly beautiful afternoon today.

Illustration: Watercolor and Micron pen by Black Elephant Blog author at the Tidal Basin, Washington, D.C.

The view was priceless, no matter where you looked.

Illustration: Watercolor and pen and ink on-site sketch in a suburb of Virginia, U.S.A.

There will be more scenes to take in, and perhaps sketch or paint, later this weekend.

The Shape of the New (unfinished)

Already the week is nearly over and it’s been quite full, making it impossible to get through the nearly 500 pages of the new book, The Shape of the New: Four Big Ideas and How They Made the Modern World. At least, I’ve made it through the section on Adam Smith, and partially through the section on Marx.  Still to come are the chapters on Charles Darwin and Thomas Jefferson. Amid warnings in the media about the state of the global economy, and on the heels of the UN General Assembly Meeting focused on sustainable development goals, it seems safe to say that this book is super timely. It’s clear that it’s well-written and thoughtful, making one want to know how the authors bring it all together in the end. It’s just that, with the spectacular weather we’ve been having, it’s been hard to avoid the stronger pull of the outdoors, and some very special sketching opportunities.

Illustration: Watercolor and pen and ink by Black Elephant Blog author

Apropos of the “shape of the new,” one of the sketching sessions this week occurred alongside the Cylburne Mansion in Baltimore where a metals magnate during the “Gilded Age” in the late 19th century built his home. Situated today on a large parkland which comprises the Cylburne Arboretum, this is a spectacularly beautiful place, where flowers and trees are abundant and crowds non-existent.  As one reads in The Shape of the New, the onset of the Industrial Age which gave rise to a new elite made mansions like this one possible in the late 19th century.

The Freer and Sackler Galleries were another stop earlier in the week on an equally majestic day weather-wise.  There is a small exhibit about the ancient city of Palmyra–once known as the “city of palms”–in modern-day Syria, there. It is impossible not to reflect on how the antiquities so recently destroyed managed to last, outdoors no less, for nearly two millennia up to our present times.

Illustration: Photo of the sculpture of Haliphat

Here it is possible to wonder where the shape of the new is headed.  The lone statue of an elegantly dressed and wise-looking young woman, known as “Haliphat,” seems to be trying to tell us something across the ages.  Unlike so much in Palmyra, she survives, here in this exhibit, so we may yet learn what this statue conveys across nearly 2,000 years.

On the way out, a muscular statue of a guard towered over us, and seemed to demand to be sketched.  He represents one of two guardians (the other was positioned at the far end of the hall) of Buddha and hails from the 14th century.

A subsequent post will return to The Shape of the New.

Illustration: Pencil and ink sketch by Black Elephant Blog author

Reading in a New Fiscal Year

Illustration: Watercolor and ink by Black Elephant Blog author

Today begins a new month, a new fiscal year even, and fall is in the air. Since every now and then, someone asks what I am reading, I have turned my attention to the question myself.  Some books on innovation have been covered earlier on this blog, particularly here.   But, why begin with innovation if we are not sure where, when or why, it matters?  Context can be helpful.

Upcoming on this blog, therefore, will be a few brief overviews of some important, and possibly even provocative, books which provide fresh optics on historical contexts, and which were published in the last year.  Some of these books review how we got to now and make suggestions for how to move forward.

These include:

The Shape of the New:  Four Ideas and How They Made the Modern World, by Scott L. Montgomery and Daniel Chirot.

Fields of Blood:  Religion and the History of Violence, by Karen Armstrong, an expert on comparative religion.

This Changes Everything:  Capitalism vs. The Climate, by Naomi Klein, who may be familiar to some for her investigation into “disaster capitalism.”  This book is so sweeping “and of such consequence,”  in the view of The New York Times,  that it is “almost unreviewable.”

But, to lighten the load, some fun reading is also in order.  I recommend:

Illustration: Painting of Madame Marthe de Florian by Giovanni Boldini (1888) – Wikipedia

A Paris Apartment, by Michelle Gable, a book which also came out last year. It is based on the true story of an apartment the contents of which came to light in 2010, 70 years after its tenant had hurriedly left Paris.

Illustration: Self-portrait of Giovanni Boldini (1892), from Wikipedia

In the apartment among antiques and other valuables, which had been untouched or unseen by anyone in all this time, was an original painting of a beautiful lady. Martha de Florian, by Giovanni Boldini.  Boldini was a contemporary of Edgar Degas, whose life and works was discussed earlier on this blog, in mid- and late-19th century Parisian artistic circles.

The painting depicts Madame Marthe de Florian whose diaries also were in the apartment when it was opened in 2010.

The novel, A Paris Apartment, recreates this true story in a fictional modern context.  The author has a fresh writing style which makes the most of her talents for creating realistic dialogue and alternating between periods of time separated by more than a century. Boldini himself–not to mention Madame de Florian–come alive here in a story that includes other better known figures of their time.  All this…a true story…and a fictional story…because of one real-life dusty old apartment filled with stuff no one wanted for nearly a century.

Ottawa Outlooks

Last week, an unusually good workshop on “Climate, Defense, and Security” occurred in downtown Ottawa sponsored by the Canadian Defense Association.  The purpose of the workshop was to assess the security risks or threats of climate change impacts.  The speakers and the audience deftly covered a wide range of relevant, forward-looking themes in the half-day allotted to the workshop.

Illustration: Watercolor and pen and ink sketch of the War of 1812 Monument at sunset in downtown Ottawa by Black Elephant Blog author

I was one of several invitees to attend. The audience was composed of former Canadian diplomats and military officials, academics, members of the media and a few representatives from European embassies, notably UK, Germany and France.  The format featured a panel of three speakers, followed by audience Q&A with the panel, and a luncheon at the French Embassy.  (The morning session was introduced as “on-the-record.”)

Illustration: Photo of notes pages in a stone journal

I jotted down key points I heard in a new “stone paper” journal I’d picked up out of curiosity at the gift shop in the National Gallery of Canada.  (Stone paper, as the name suggests, involves no trees and is made of “crushed stone.”  It has a different texture and is heavier, of course, than a paper journal.  Is it, therefore, more environmentally friendly?  I don’t know enough about it to say for sure, but it is fun to try out.)

These key points were:

• Crisis is the “new normal.”  We don’t know what will hit us; “that’s the essence of crisis.”
•  Climate change is a “ubiquitous complication” which is “not directed at you” and, therefore, “very difficult to understand with the tools that we have.”
• Considering climate change impacts as a “national security issue” does not make sense in a German context where security issues are seen as
  collective” ones.
• We are facing “governance issues.”  There is “virtually no leadership” on these issues.
• “The pace of climate change is much more rapid than anyone was predicting 10 years ago.”
• Defense agencies can be very much part of the solution, if they can be engaged in reducing fuel consumption.
•  Since the Industrial Revolution, we have now pierced through what has been the highest level of CO2 emissions [ever]:  We are going into a place where we haven’t been in 400,000 years.
•  The processes of climate science consistently underestimate the rate and scale of these changes.
• “It’s not just what has to be done but who has to do it.”  There must be “mini-lateralism” in addition to multilateralism.
• We are failing at assessing risks.  (An audience member recommended a new report out from the UK’s Foreign and Commonwealth Office:  “Climate Change:  A Risk Assessment.”)

Ottawa itself looked its best in the bright September sunlight, a wonderful gift for those with some time to walk around.  I wondered if the workshop signaled some sort of shift in the climate around the issue of climate change.

Illustration: Sketch in watercolor, pen and ink, and gouache depicting fountain in Confederation Park in downtown Ottawa by Black Elephant Blog author

The last time I was in Ottawa in September was on 9-11-2001 when the geostrategic climate suddenly changed dramatically, in ways we are still living with today.  On the visit this week, the weather was seemingly similar to the day I recall with such heaviness 14 years ago: brilliant blue skies and buildings gleaming in the sunshine.

It was a real pleasure to be able at last to stroll around the city and take in the many gorgeous sights, from the locks along the canal (of both varieties: canal locks and locks locked to the railings of a pedestrian bridge over the Rideau Canal) to sculptures, fountains, the Byward Market, and an independent bookstore (they still exist!) on Eglin Street.

Illustration: Photo of locks on pedestrian bridge over Rideau Canal in downtown Ottawa

Some of the sculptures brought me to a standstill, including the one of Canadian jazz legend Oscar Peterson on a corner next to the National Arts Center, where the sound of his piano playing (coming from speakers around the sculpture) soothes your nerves while you’re waiting to cross the street.

Illustration: Photo of sculpture of legendary jazz musician, Oscar Peterson, in downtown Ottawa

Despite all the sights competing for my attention, I managed to get a few sketches started while exploring, adding color later.

It remains to do be seen what will be done about the climate challenges identified at the workshop, and by whom.  Given the shortcomings of traditional approaches highlighted in the workshop, some innovations in governance, science, and diplomacy seem necessary to cope with the novelties involved in understanding the risks and threats related to climate change impacts.

Back to School, With a Magnifying Glass

Illustration: Still-life workshop exercise in watercolor by Black Elephant Blog author after a painting by Cezanne

It’s back to school, right into the weekend, in an intensive art workshop with an accomplished artist and art historian as our excellent teacher. People have come from far-flung places, even Canada, for this class, including the instructor.  We have poured through the works of the “masters,” including a rare original sketchbook of Cezanne’s. We traversed through some highlights from about 600 years of art history in the National Gallery one day.

In an exclusive setting not open to the public except by reservation, we peered through magnifying glasses at the original sketches (not under glass or protected in any way) of Rembrandt and watercolors of Constable, Delacroix and others.  (If you felt a cough or sneeze coming on, the archivists warned, please turn away from the art work!)

Cezanne’s sketchbook disclosed the opposite of today’s multi-tasking “monkey mind.”  Page after delicate page, it reveals intense concentration on drawing heads, houses, hearth implements, and landscapes…in pencil mostly…and a single-minded focus which must naturally banish other concerns.  (His other concerns were evident in lists and notes–possibly shopping lists, even– written on the inside flaps of the notebook, however.)  These sketches are maps, and problem-solving schemes, in some cases for later studies in other media.  In what other profession, do we first do “studies” for studies for, possibly eventually, some final product?

Illustration: Color swatches made in workshop exercise to match (or try to match) colors used in de Kooning painting (copy to left) of “Seated Woman”

We are learning about palettes, color theory, and so much more! In art, as in most fields–despite the tumultuously quickening pace of change–it is folly to think that one can master in a short time (or ever, frankly) what others spent lifetimes perfecting. One can enjoy creating and be an “artist” without being a professional artist, though the distinction can sometimes be hard to make.  (It is clear that there are quite professional artists in this class, for instance.)

For the novice especially–but also the more experienced artist–there is much to learn from studying others’ works. Today, the whole day was spent on still life painting–which is not much time considering that some artists whose work we examined spent their entire lives painting still lifes. The approaches different artists take are more meaningful when we are taught to appreciate what is being done, or attempted, in a painting. It’s clear now that the humblest table setting, a piece of cake,or a half-full water glass, can–either alone or together–serve as props for an interesting painting.

We saw still lifes from above, below, at eye-level,  and at varying other angles, and noted how the “ellipse” at the lip of a jug, jar, bowl, or bottle would change, depending on the perspective.  In addition, the “composition” of a painting was a subject of great scrutiny in this class–as were values, color complements and contrasts, and shapes.

After such an intensive overview of still life painting through the ages, it will no longer be possible to glide thoughtlessly through galleries of still lifes in the museum, unimpressed by paintings of ceramic jugs, plucked fowl, and dead furry creatures adorning peasant tables.  The same goes for “landscapes” which was yesterday’s focus, painting in “plein air” in the riverside gardens and meadows of an elegant 18th century Virginia estate which now serves as the headquarters of the American Horticultural Society.

Little by little, we progress to a deeper understanding of what the “masters” in art were seeing, and trying to convey. In a group of similarly motivated people, it is possible to learn more quickly about different styles, insights, and experiences.

What would a world without art look like?

In a world of “bigger,” faster data and technologies, culture and cultural sensibility matter more than ever.  This is because no amount of data can tell us what to do, or ensure that we will do anything as must be patently obvious by now.  Determining the right thing to do, moreover, will take more than data.

People can communicate through art across the boundaries of cultures and centuries, unless that art is irreparably destroyed.  It will take excellent teachers (and excellent school systems supporting them)…and, perhaps, some high-powered magnifying glasses–to mainstream the insights of the world’s greatest artists and humanists into contemporary educational and organizational systems.  What would this look like?  Fortunately, in my school these days, students range in age from 6 to 80-somethings, all learning new things with gusto. In such an environment of human creativity, it is impossible not to be optimistic.

Studio Portraits in Ink Wash

Illustration: Brown ink wash and graphite

Today I tried Higgins “dye-based drawing ink” in washes on Fabriano 140 lb Cold Press watercolor paper to create some portraits in the studio. I used a watercolor brush (now an ink brush!) to do the washes, and filled in some contrasts with a Platinum Carbon fountain pen with waterproof black ink. The results seem promising enough that I’m eager to try something similar again.

Working in one color–in this case, brown ink–and trying to distinguish different values (or degrees of contrast)–seems easier than managing all the interactions between paper, water, and different colors involved in doing a watercolor portrait.  This paper, moreover, seemed well-suited to the ink washes.

Bridging Old and New in Frame Innovation

According to the author, Kees Dorst, of Frame Innovation:  Create New Thinking By Design,  (The MIT Press, 2015), we are “collectively being tripped up by today’s problems.”  Tackling emerging complex, dynamic and networked problems with old approaches makes no sense, he writes; “the trusted routines just don’t work anymore.”  They require a “radically different response.”  But what do those responses look like, and how do organizations large and small mobilize them?

Sketch by Black Elephant Blog author

Dorst argues that the interest in “design thinking” up to now has often led to ineffective responses.  He says that this is because, up to now, we have tended to turn to the “designers” to generate solutions, “rather than [recognize and enlist]…the key ability of expert designers to create new approaches to problem situations,” or “framing.”

The creation of new “frames” to approach problem situations is the key, and a special element of designers’ problem-solving practices, writes Dorst (citing Whitbeck 1998).  Dorst’s book introduces fresh practices based on lessons learned so far on how to link sound design approaches to real-world problems in different domains.  From designing high-speed rail links to dealing with challenges involved in social housing and reducing crime rates, he shows how designers are confronting the complexity of a situation head-on.  From elegant 19th century-era hotels in places which tend to attract large numbers of people with 21st century tastes to large government institutions struggling to adapt to cross-sector challenges, devising cost-effective and future-sensitive ways to update our problem-solving approaches seems like a ‘no-brainer,’ doesn’t it?  But it turns out that, while obviously necessary, it is far from easy, especially for those working in long-established organizations.

Illustration: Watercolor, pen, ink wash, Faber- Castell gold Pitt artist’s pen, and Gelly Roll white pen (view from a park in Baden-Baden, Germany) on Stillman & Birn paper Alpha-series by Black Elephant Blog author

 In Dorst’s view, “we have an unprecedented need to extend our problem-solving repertoire so that it can address these issues.  Future posts on this blog will look at some of these strategies, but–in the meantime–those who are interested in this subject will find  Dorst’s book useful. (So, in a belated response to the reader who asked on this blog some weeks ago something like, “is this really anything new?”, it appears that Dorst’s answer would be: yes, we are dealing (or, failing to deal) with a new class of problems that are highly complex and cannot be solved by those working within a single sector.)

Coming up, a bit more on this, and some recommendations for related books and links.

Sketching and Frame Innovation

Anyone who sketches or attempts to create anything new is attempting to create a new way of seeing something, even if just for themselves, in their own sketchbooks, or–as I did last night–on the back of an envelope.  They are, to varying degrees, storytellers.   Urban sketchers certainly are storytellers or, if you will, citizen reporters, and “plein aire” artists, drawing and coloring what they see! Those who tell stories about their sketches, their sculptures, their jewelry-making projects, their workshops, or other sorts of creative endeavor are providing narratives to put a frame around the effort.  So sketching leads straight to frame innovation…which is getting serious attention in some business and academic circles.

Illustration: Watercolor, gouache, and ink by Black Elephant Blog author

It appears that artists have a lot to teach those of us who have depended primarily (so far…) on our analytic brains to carry us forward. And who, after all, isn’t an artist, given a chance? What happens when our analytic brains are simply not up to the challenges (some of which may be “black elephants”) ahead?  A few posts back began to look at a book on this subject published by MIT Press recently.

This post thus will segue back into the discussion of frame innovation raised a few weeks ago here on this blog (and to which there may be a few more unanswered questions by now).  One question so far raised, for instance, is whether the ideas behind “frame innovation” are, in fact, anything new?  The next few posts will consider this and related issues.

Sketching in Pfalz und Baden

Sketchers and doodlers in the Pfalz and Baden regions of Germany have many subjects from which to choose.  If the weather holds out, it may be possible to focus on drawing more sights.  But today it was a race against threatening storm clouds, and a few raindrops, to draw this “schloss” built between 1715-1718. Fortunately, the clouds moved off, leaving wonderfully blue skies and bright sunshine, despite ominous weather forecasts this morning anticipating downpours.

Illustration: Pen and ink and watercolor by Black Elephant Blog author

Off the well-trodden tourist paths in Germany, there are still a great many surprises to see, especially in some of the oldest towns.  Here is one celebrating its 750th anniversary this year! Tomorrow many in the town will turn out for a flea market; we’ll have to see what that looks like in a sketch or two.

Illustration: Pen and ink and watercolor by Black Elephant Blog author

Eastern Market Meanderings

For locals and tourists, the Eastern Market in Washington, D.C. on Capitol Hill is a fun place, full of surprises. These are sketches done in situ in a Stillman & Birn 5 1/2 ” x 8 1/2″ Alpha series sketchbook, as urban sketching practice.  Capturing a lot of information,in a short time,with attention to shades of difference, context, and composition–is what this sketching activity involves.

Illustration: Watercolor and pen and ink by Black Elephant blog author

Although this is “Capitol Hill,” it does not seem like a place for people in a hurry, generally speaking.  Even in slow motion, however, people are difficult subjects for sketching.  Hopefully it will get easier!

Illustration: Watercolor and pen and ink by Black Elephant blog author

Taking Liberties with Urban Sketching

Sometimes it is tempting to take liberties with the look of a scene by sketching and then watercoloring it afterwards—after, that is, departing the scene of the target image–thus, breaking a cardinal rule of the urban sketchers’  manifesto.  So, speaking of liberties, here is a sketch (also taking some liberties with respect to realism) of the back of the U.S. Supreme Court on a beautiful day in May in Washington, D.C.  True “urban sketching” follows guidelines that include sketching on the scene in real-life (“plein air,” so to speak) but, in the case below, having a photograph of the elements of the scene helped to fill in the image afterwards.  In any case, whether or not this qualifies as real “urban sketching,” it is clear that a walk in just about any city produces a great many surprises (the subject of this blog, after all); Washington, D.C., is no exception, particularly with respect to the astounding beauty of its many buildings, parks, statues, hidden alcoves, and often gorgeous landscaping.  (The sculptures of urns with the rams head handles have now popped up in a couple of places–another surprise!)

Illustration: Watercolor and pen and ink by Black Elephant Blog author