Reassembled Man

 No.4

 I promised a while back that I would post some more of these quick figure oil sketches -- Here are a few; fun practice if you move quickly, keep the strokes spontaneous and don't fuss them too much...14x11" (cropped).

 No.14

 No.9

 No.16

No.11

Dean Cornwell (1892 - 1960)

I thought it was time to post a little more "Rarely Seen Dean" Cornwell images from my files... DC was a giant in the field in the 20th century, working from the late teens thru the 1950's.  He was extremely proficient in all facets of producing fine illustration (and fine painting of any sort for that matter).

(Seagram's ad 1948)

 Possessing equal strengths in composition, drawing, and paint application he worked out any kinks or questions far in advance of his finished originals by prudently executing countless pencil layouts, charcoal sketches and colour studies.

        

("Never the Twain Shall Meet" Magazine Illustration 1923)

Aside from the obvious appeal of his overall work, I have always admired his use of the vertical line;  Cornwell often exploited the gravitational linear structure found in figure, fabric and foliage by focusing on any straight up and down patterns (evident in many of his murals, influenced by British painter, Frank Brangwyn).

(1918)

Another Cornwell drawing effect used in tandem with the vertical line is his stylized use of the "S" curve, relying abundantly upon it as a design device lending immense integrity to all of his compositions...

(Jergen's advertisement 1924)

 It is this structural component in his rendering that makes his work so unique, giving his paintings a solid foundation based upon principles found in nature, even when exaggerating the forms.

(Magazine illus. 1941)

Even though Cornwell believed he would have a greater shot at immortality as an artist by creating large-scale murals for public display where his draftsmanship was key, ironically he is best remembered by his fans for his magazine and advertising work.

(Magazine illus, 192?)

That is because (fortunately for us admirers) Corny put just as much effort into each of his assignments as he did the ones he assumed would become his legacy...either genre, it is all an enduring testimony to the "Dean of Illustrators", Dean Cornwell.

Cuisinart

It Says Here... (16x20)

(Detail)

Last month my wife and I went to a local fine dining restaurant for our anniversary. The food was fabulous, but so was the kitchen which was in open view to the restaurant patrons. I was so intrigued by the action there that I asked the manager if I could come back and take a few reference photos to paint from...

Five Spice Kitchen (16x20)

  (Detail)

He was very obliging and told me I was welcomed to any time, so I came back the very next week and these are the results... I've seen other artists do this subject matter before of course, but everyone has their own approach and style. What I enjoyed most are the abstract patterns you get with all the stainless steel in the background with the ovens, fridge, and counter tops -- lots of information to interpret loosely.

Finishing Touch (12x16)

I'd like to do more of this subject -- most everyone can relate to good food and restaurants, even if they only experience it once a year like us (darn economy).

Bon Appetit! 

Fast and Furious

 No. 1

These oil sketches were done very quickly (approx 15 - 45 minutes a piece) on paper as skin temperature exercises...subtly shifting and exaggerating the warm and cool to create more interest and help aid me in my figure work.  I did about 4 of them a day -- each one is approximately 14 x 11" and were referenced from either photos or previous pencil sketches.  I have more that I will post at a later date...

No. 2

No. 3

 

No. 5

No.6 

 No. 7

No. 8

 

 No. 15

Happy Holidays!

 

Dancer at Rest (30x24) o/c

  Well, the end of another year has arrived, and they just seem to keep coming faster...  No matter -- I am still here and enjoying my life and family now more than ever.  I want to wish any and all who periodically check this blog the best of everything -- happiness, peace and good health in the coming year, and to those of you who paint & create, much success in your endeavors.  
Stay true to yourselves, love your neighbor and ditto on all the following salutations:


"Live long and prosper" -- Spock
"Be well and do good work" -- Garrison Keillor
"May all your wildest dreams come true" -- Pedro Sanchez
"Take care polar bear" -- Lily Bowman (age 6)


Merry Christmas and a Happy New Year to you!

Eric Bowman

Temple of the Pacific

"Temple of the Pacific" (24x36)

This piece was done from a couple of plein air sketches I did earlier this year, above a little cove on the north end of Boiler Bay (just north of Depot Bay, OR).  I've painted here under different conditions and times of day, always returning for it's classic Pacific Northwest character, but having an entirely different experience every time...

Living where I do (approximately one and a half hours from the beach) it's unpredictable what you're going to find there.  From here you have to traverse the coast range of mountains, and you never know what's going to greet you on the other side... Could be a clear, cloudless day from home to the horizon, but rounding that last curve of tall pines may reveal a thick fog bank obscuring the ocean altogether.  

Or, an overcast gray day at home could fool you from perfect conditions awaiting at the beach.  One thing I have become accustomed to though, is learning to accept what I find, no matter the weather (barring hard rain).   Of course back home in the controlled environment of the studio, I could take any time necessary to expand upon my outdoor sketches (which I did) -- and that's a good thing, as I believe every painting should be markedly different from any other -- even if it's a painting of a painting...inspired by a previous painting.

BLUE, period.

Burgundy Blue (24x30) o/c

This is a recent piece I had fun with -- the model for the singer had great attitude that made for a nice contrast to the more sober musicians, helping to covey a subliminal blurring of the lines between the genres of jazz and blues music...

While both forms produce sounds that have their associated moods, it's interesting what physiological effects a dominant colour palette can produce too.

 (detail)

Of course the colour blue has long been associated with melancholy, and the musical genre of the blues, yet it is far from restricted to that emotion alone.  While the musicians here appear serious and sullen, the singer's expression is on the verge of joy -- the paradox that blue music is...

On the one hand, it is an artistic moody expression that can yield a feeling of 'low down', while at the same time it can ease the pain of the suffering spirit... Strange, the effects art can have on the human condition -- be it audible or visual...

Back to the Figure

Now that summer is past, I started painting the figure again from a live model. It's a great workout and the best way to study how light falls on the form, while transforming that information onto a 2-dimensional surface...

Green Mantle (20x16)

Of course this is for study and exercise and not necessarily intended to be a "finished" work -- that's why I don't bother with unnecessary details like finessing the eyes and mouth, etc.  By sticking to the confines of a 3-hour time limit, you're forced to work quickly and spontaneously to capture only the basic information. This simple approach makes for a fresher, livelier image that retains more movement than a highly rendered one. 

Model at Rest (16x20)

For that, it would take another session or two, but this way lends itself to more potential for "happy accidents" (things you didn't necessarily intend, but sometimes occur when working quickly that benefit the overall picture)... Another benefit to painting studies, is the absence of investment -- I usually use cheap store-bought canvases or quick-coated masonite panels with a slight raw umber stain to kill the white (as you can see in the top example surrounding the image)... 

Mostly I enjoy doing these because it develops instinctual skills thru repetition that carry over to finished pieces, eventually training you to get those spontaneous strokes that make for a better picture.  Of course that said, I have a lot of studying to do!