Thursday, July 29, 2021

Emilio Sanchez Forever


 

Every now and then the US Postal Service publishes a new stamp that makes it worth waiting in line at the post office.  And this year we got one: stamps featuring the work of Emilio Sanchez.  Postage stamps are one of the rare things in life in which the interesting ones cost the same as the plain ones--so why not go with the gusto??  And the Sanchez stamps indeed exude gusto!


"35 Calle Sol"
Emilio Sanchez

Emilio Sanchez was a Cuban born artist (1921-1999), who began his art studies at the Art Students League in New York.  He painted a variety of subjects, but was especially fascinated by the play of light and shadow on brightly colored forms.  The buildings of the Caribbean and other regions proved to be perfect vehicles for his exploration of light and shadow and color.  But he also depicted scenes from New York, such as the one just below.


"Looking West from My Studio"
Color Lithograph, 19 x 17 1/2
Emilio Sanchez, 1968



Sanchez has been compared to Edward Hopper and Georgia O'Keefe in the way that they simplified the environment.  One critic said they created an "abstract stillness of the built environment"--I could not say it better.  By eliminating extraneous details, Sanchez reduces these structures to their essence, and they take on universal meaning.  Though the details are eliminated, the colors are so true, and the shapes so accurate, that the structures remain very believable.  In fact, they almost seem alive.


"La Ventanita"
Emilio Sanchez

I love the way that Sanchez knows how to zero in on the most telling, most interesting shapes.  He zooms in on one part of a structure, but that one part tells us everything we need to know to picture the entire structure in our minds.  Or to sense the place that it occupies. Believe me, selecting just the right slice of a scene to achieve this feat is easier said than done.


"Una Pandemia"
Color Lithograph, 29 15/16 x 22 1/4
Emilio Sanchez, 1973


I have purchased my Sanchez stamps, but I am tempted to keep them to look at, rather than to use them to mail letters. I hope this will inspire you to check them out. And for the curious, I'm closing with a shot of Sanchez himself.  I may be crazy, but something about the decisive planes of his features reminds me of his paintings...


Emilio Sanchez






Monday, July 19, 2021

Kick Start, Part II




"Neighbors at Les Bassacs"
Oil on Paper
(c) Lesley Powell 2021

My last post talked about the way that using new materials can kick start your creative process, or even open the door to a new way of working.  I promised to explore that notion in more depth.  So--this time I'm writing about oil painting on paper.  Yes, plain ole PAPER. 

 

"Bonnieux View"    
6 x 6, Oil on Paper
(c) Lesley Powell 2021

You can buy special papers that are pre-treated for oil painting.  These papers don't require any preparation--you just start painting. Eliminating the preparation time is a huge advantage, but I have found drawbacks to these papers.  One of the popular brands is so absorbent that it practically sucks the paint off your brush and absorbs it deep into the paper.  That's great when you are in a "lay it and leave it" mode, but not so great when you want to move paint around on the surface.  Another brand is pressed to have lines that mimic the weave of canvas.  Sometimes that's nice, but then again why not just use canvas if that's what you're after?


"Blueberries I"
6 x 6, Oil on ArtBoard
(c) Lesley Powell 2021

My latest exploration is painting on heavy drawing or print-making paper.  Or even watercolor paper.  I have learned in my research that if you give these surfaces two thin coats of shellac, they are archival for oil paint.  The shellac creates a barrier that keeps the oil "sitting on top" of the paper.  The surface is very smooth, but not TOO smooth.  And if you paint a picture that is a keeper, you can mount it on board or another stiff surface, and (if done properly) the painting can be treated like any other oil painting.


I have really enjoyed working with this new surface.  I love the way it accepts the paint.  And the way you can scratch back into it to make expressive marks (like you see on the blueberry stems above).  Plus there is a freedom in painting on paper--since paper is less expensive than the linen I usually use, there is not so much at stake.  You can let go and experiment without wasting a lot of resources.  




Another advantage if you know how to paint on paper is that you can shift gears in mid-process, and undertake a "change of state".  That happens when a picture that begins as a drawing  starts to feel more like it should be a painting.  Putting a coat of shellac over the drawing allows you to take it to another state, and become an oil painting.  Check out the photo immediately above for one of my drawings midway in this process. (I used an amber shellac on this one, but I usually use a clear one). I'm illustrating this post with other recent works on paper--enjoy! 



Thursday, July 8, 2021

Kick Start

"Stairs and Shadow"
Charcoal on Paper
(c) Lesley Powell 2021

This is the week that, but for COVID, I would have been in a painting class in Provence with Maggie Siner.  It's been an annual tradition for me most years over the past decade, and I've come to rely on it as a re-boot and source of inspiration for ongoing work.  This year I am having to reach deep within to find my own kick start.


"Stairs and Shadow"
Marker on Paper
(c) Lesley Powell 2021

Merriam Webster defines the term "kick start" as a way "to give new energy to [something]".  New energy is definitely a prerequisite to a satisfying painting practice.  A serious painter is always seeking new challenges, new ways of seeing, and new ways of creating.  That may involve using new materials, or using old materials in new ways.  


"Farm Buildings"
Charcoal on Paper
(c) Lesley Powell 2021

As for me, I have been working with some new materials.  For one thing, I have been exploring the world of drawing more deeply than in the past.  I have drawn with charcoal, with marker, with pencil, with conté.  Each of these has a different touch, and makes a different mark.  And I have drawn on different surfaces, ranging from "laid" paper (which has a ridged surface) to smooth art paper to plain ole newsprint. The variation is enough to keep me alert and to keep me from falling into a rut.


"My Studio"
Charcoal on Paper
(c) Lesley Powell 2021

Previously I tended to think of drawing as merely a preparatory step for painting.  Now I am trying to think of drawing as an end unto itself.  It's actually quite satisfying, and I find that I can explore new ideas more quickly than in paint.  I'm illustrating this post with a few of my drawing efforts.  Stay tuned for upcoming posts on other new materials being deployed in the studio...