"An object had value for him only if it expressed the personality of it's creator. It could be a sculpture, a picture, a plate or a chair. It could be the humblest kitchen utensil or King Charlemagne's crown.
What was vital was to be able to recognise in the stone, wood or fabric the human being who had conceived and executed the work."
- Jean Renoir talking about his father Auguste Renior
I am currently studying at Sadie Valeri Atelier, San Francisco, California.
Sadie Valeri is a Classical fine artist and instructor and is the founder and director of Sadie Valeri Atelier.
I take my inspiration from both the Impressionists and Pre-Raphaelites.
The Impressionists tried to capture the light and a fleeting moment in time.
Notable members amongst the group included Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille, Edgar Degas , Mary Cassatt, Berthe Morisot, Camille Pissarro and Paul Cézanne
The Pre-Raphaelites painters drew inspiration from Poetry, Literature, Roman and Greek mythology. In a modern context I have updated and re-interpreted this by painting New Zealand heroes and brands that are inspirational to myself starting with the Arts. Amongst this movement my favourite painters are John Everett Millais and John William Waterhouse
Self portrait outside The Forrester Gallery. I have been wanting to do this painting for a long time outside this magnificent building.
Oamaru is an amazing Victorian historic town in New Zealand. Made from Oamaru stone which is a soft white limestone similar to Caen stone from France, the level of carving detail is superb.
The biggest initial challenge was the three weeks creating a detailed pencil sketch on canvas to ensure the perspective was correct and capturing all the essential details.
The underpainting was created using acrylic and the top two layers are in Oil.
Acrylic/Oil on Canvas
841mm x 634mm x 40mm [ 33" x 24.5" x 1.5" ]
Completed July 2018
I am currently studying at Sadie Valeri Atelier.
Just finished the second layer of current painting an Oamaru streetscape. Awaiting on new paints to arrive for third and final layer.
Plus completed another two Bargue plates - 12 part A & B
Currently working on my latest painting, an Oamaru streetscape.
Busy month! my latest painting just completed is Still Life - Whittakers The Full Eighty
Whittakers is by far and away my favourite chocolate, the fact that it is made right here in New Zealand is a bonus!
This painting focuses on The Full Eighty Chocolate bar (Limited Edition) - All Blacks pre-match inspired chocolate bar.
The Full Eighty features Whittakers classic Creamy Milk chocolate, peanuts, cranberries, banana and protein puffs.
Apart from the chocolate bars, as part of the still life I featured Bananas, Peanuts, Cranberries and Rugby Ball for the match: All Blacks vs The Lions
For the backdrop I have chosen a Gold fabric to frame the still life.
Whittakers have been making their world famous chocolate in NZ since 1890!
Oil on Canvas
1195mm x 600mm [ 47" x 23.5" ]
Completed December 2017
Plate 1, 10: The foot of Germanicus (Pied du Germanicus)
Final plate in the feet series.
The status, in the Louvre Museum in Paris is signed by Cleomenes, son of Cleomenes, Athenian, and was carved during the reign of Augustus ca 20BC. For several centuries the statue was identified as Germanicus, nephew of Emperor Augustus, for a while it was taken to be a youthful portrait of Augustus. Now it is labelled Honorary Funeral Statue of Marcellus, nephew and first son-in-law of Augustus.
Powering through the Bargue plates at the moment, thankfully almost finished all the ones on the foot. Here is my version of Plate 1-9 in pencil with some white chalk highlights.
The sole of the foot (Plante de pied)
Just completed Bargue Plate 1, 8 in pencil with white highlights in chalk
The foot of the Medici Venus. [Pied de la Ve'nus de Me'dicis]
This is the right foot of the much restored statue of Venus, which for centuries has been in the Rotunda of the Uffizi Gallery in Florence, Italy. This marble, signed by Cleomenes, son of Apollodorus, is probably a copy of a Greek work in bronze. It was considered the epitome of female beauty well into the nineteenth century.
The drawing is the most refined encountered thus far in this course, with gentle transitions from the shadows to the lighter areas. Several important areas of half tones are added after the basic shadow has been established. I found this plate a challenge. You have to draw all the details in, then start subtracting with negative space to indicate both the darker and lighter shadow areas.
Work in Progress - Plate 1,7 now completed of The Bargue Plate - The Foot of the Gladiator [ Pied du Gladiateur ]
Pencil heightened with white chalk on toned paper.
This is the foot of what was once one of the most admired of ancient sculptures, now known as the Borghese Warrior. It is signed by Agasias, son of Dositheos of Ephesus, and is now in the Louvre Museum in Paris.
Half way through drawing a very detailed sketch on canvas for the new painting, which took about three weeks using the sight/size method.
Starting on a new still life painting, which should be a lot of fun.
Completion of Bargue Plate 1,6 part B of the heel. Pencil and white chalk.