A Portfolio Of Paintings And Drawings

Robert Palevitz

• Publisher: Routledge
• Year: 2018
• eBook ISBN:
  9781135895372
• Topic: Education
• Subtopic: Education General

In the author's own words: This is not a book to show you the details of painting or for that matter how to paint. This book is more a portrait of myself, to show you what I'm about and what goes into one of my paintings. This exploration of Palevitz's life and work showcases their art alongside statements from a number of respected authors, artists and friends. This title gives an insight into the mind of this artist while providing skilful interpretations of the artistic work printed – a valuable collection for any reader studying within the arts, be that as a creator of art or those extracting meaning from existing works.

SOME THOUGHTS ON A WORK IN PROGRESS

by Bob Palevitz

Each pastel figure drawing in this writing was done within a day. The majority of the time spent creating them was devoted to the composition of the page. The rest of the time was spent on rendering the figure. For me, composition and sensitivity of line is most important. This is where the real thought, work, and struggle go on. I mean, once you’ve learned how to render skin, apples, flowers whatever, it’s what you do with them on the page that brings excitement to your work—perhaps even a sale. And what can be more complex than the human figure? Mistakes can be hidden in the drawing of fruits and flowers, but even a slight mistake in the drawing of the human figure sticks out like a sore thumb.

I usually begin the drawing with a soft piece of sepia pastel or conté chalk. I don’t want to be precise at all at this stage. My primary concern—first and foremost!—is the composition of the page: the placement of the figure, how the shadows will fall, and how I can direct them to benefit the overall composition. Shadows are complex and vague, never just a patch of dark stuck next to an object. Shadows have air and color. Shadows have soft and hard edges. Shadows can be a design element.

Portrait: Woman from Brazil. Pastel. 10″ × 12″.

I continue to draw in the figure changing direction between line and form constantly. This process goes on until I feel a nice balance of line and form. I may even put on a touch of light with a juicy piece of soft pastel to help me see where I’m headed. At this point, if I’m happy with the placement of the essential light and shadow in the drawing, I will begin working with soft pastels.

I work with a very limited palette. A few skin tones; warm and cool grays; gray violets; greens; and, an initial warm sepia and conté foundation. Before going any further, I put in a background tone. I try to keep it as simple and airy as possible. Perhaps a fold of fabric or a shadow selected with the composition in mind. With the background fairly set I begin to put a slight haze of background tone over the roughly drawn figure. This is very important for me because it gives the subject a feeling of being within the space—a sort of Ariel perspective, which builds atmosphere and air around the figure … that is to say, t...

Table of contents

• Cover
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• PREFACE
• PAINTINGS AND PASTEL DRAWINGS
• THAT STUNNING REDHEAD
• FRANK ARCURI
• LYNN SWEAT
• CLARK HULINGS
• ELIZABETH ALCH NOVICK
• GREG KREUTZ
• GARY T. ERBE
• IRA GOLDBERG
• LAWRENCE ERLBAUM
• SOME THOUGHTS ON A WORK IN PROGRESS