Yesterday's drawing and painting went well. First let me show you the current state of the painting "Man & Man," with the caveat, "Yes I tried moving the clothed man slightly in front of the naked man, but it did not work well." By moving the clothed man's elbow forward I disrupted the engagement between the two figures. Today I will move the clothed figure back, which will include changes to his head, feet, and his left arm (on the viewers right). The naked man's head did change, and is far better than it was the day before. These changes are fascinating to me in terms of process, as my approach to problem solving in painting is becoming my process while drawing. I am allowing the "Yes, but..." process to be active in both media. I do not use the term "Yes, but..." lightly. Dore Ashton wrote "Yes, But..., A Critical Study of Philip Guston," published in 1976. This date was the year prior to my first of two years of study with Philip Guston. It is apparent to me that my choice to study with Guston was more about process than subject matter. When I signed on with Guston I was unaware of his amazing transition back to figurative art. I sought him out because I loved his approach to solving his so-called "Abstract Impressionist" paintings. As reference, I show three of Philip Guston's paintings, from 1960, 1973, and 1976. Philip Guston's paintings are shown after my work from yesterday.
I like this drawing. It exhibits my method of problem solving. If you look carefully you can see a myriad of changes in the pentimenti. On another day I will write more about this quality, and refer you to the drawings of Henri Matisse, which exhibit the same quality of draw-in, rub-out, draw-again, etc.
To read my profile go to MEHRBACH.com.
At MEHRBACH.com you may view many of my paintings and drawings, past and present, and see details about my life and work.