We have a drawing class every week this month. I wish it could be a year round venture I enjoy the whole event so much, but we are a small group and half are travelers, it becomes a logistics problem to get us all here at the same time.
Last week (as we are a voluble bunch, no “so quiet you can hear a pin drop” for us) one of the group was lamenting that try as he might to get a curator to his studio to see his new paintings it just wasn’t going to happen.
Almost every one of the group had similar stories to tell. Being rejected by the ‘art establishment’ without benefit of ‘trial’ is a daunting experience.
I read Robertson Davies book, A Mixture of Frailties a few evenings later. One of the characters observes, “What’s the good of fighting critics? Mind you, some of them are very able…But only a few can form any opinion of a new work. Most of them are simply on the lookout for novelty”.  It made me wonder if curators too spend much of their time in that pursuit.
Did you know that there are dozens of paintings of the Mona Lisa dating from the 16th and 17th century? I had no idea. Are they to be considered fakes or plagiarized or is there something else here going on?
It is true we need to know history so we don’t “continually re-discover the wheel” as one of my art instructors put it. The wheel is a basic thing but look what marvels Archimedes  did with it. He moved a boat to dry land with a group of soldiers on deck no less. How? By using an intricate system of pulleys and lots of rope it took only one person to perform this feat.
A stick of charcoal is also a basic thing. There is no novelty in the material but it is still ripe with potential.
These drawings are a small selection of work from our drawing class. There is no instructor – we all have our own personal agenda. These works are 18 x 30 inches using chalk, charcoal, coloured pencils and my favorite drawing tool the eraser. These poses vary from 5 to 30 minutes.