Images: Drawings

Magic Garden Prelim

This is the under-drawing of the painting below. By itself, I enjoy the drawing.

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Gesture: Figure

24 x 18 inches, compressed charcoal on paper Copyright, 2010, John A. Brecht, al rights reserved

I very much enjoy the quality and variety of mark in this drawing.

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Gesture: Back and Arm

While not always anatomically correct, the gesture is what it's about -- also the mark.

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From the point of the graphite stick to it's side, this drawing utilizes a nice variety of marks. Here, the model was going through a battery of thirty-second poses. She leaned forward with her left arm over her head. Even though you don't see the arm, the gesture suggests it. The other marks, I believe, are from the previous pose that I drew on top of. Sometimes I don't bother changing the page. In rapidly changing drawing situations, I occasionally feel it takes too much time to finish my thought on one pose, rip the paper off the pad and set for the next pose when I am essentially racing with the model. I really like newsprint paper to draw on. It has a tooth that takes graphite and especially conte nicely and is a pleasant off-white. Unfortunately, it is unstable and deteriorates quickly as seen here by the yellowing around the edges.

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Gesture: Back

The gesture drawing is a quick study completed in a very short period of time. This drawing was executed in under 30 seconds. Often, artists use such rapid-fire drawings as a way to warm up at the beginning of a session. The technique is also helpful in situations where one needs to capture the essence of a scene in a short period of time or where there is movement or a constantly changing scene. Gesture drawings lack the detail that is in more finished drawings. Drawing in this manner also cultivates hand-eye co-ordination, which is important when working from life. Those are the nuts-and-bolts explanations. The beauty of these drawings is the energy they posses, the purity and diversity of mark, and the ability to convey a great deal of information very efficiently. It is the life and energy in the mark that I find most beautiful and magical. To me that is what drawing is about.

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Variation on Chafee Lane

This is a pastel study of my painting, "On Chafee Lane." I did three versions. With each variation the key elements became more evident. The drawing guided me.

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Reclining Figure with Hand

I enjoy this drawing. The placement on the page is fun. But what I like the most is her hand. The abbreviated marks define it nicely. For me, it is the magic corner of the piece.

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At the Yonce Farm

This drawing was done using monochromatic pastel on grey Bogus Paper. It was done from a painting. The three trees are a compelling group, drawing me back to this location repeatedly. They are emphasized here in a distilled fashion, largely from being drawn from a painting.

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Back of Hand

A study of the back of a hand as the model rested his head on his fist.

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Nicole's Back

I have always liked this drawing. I am sharing it for the first time, here. I enjoy the spacial aspects of it and its abstract qualities. I particularly like the suggested arm in the foreground.

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Knee Study

A study of the knees and foreshortening.

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Anna

A quick ten-minute sketch. The model, Anna, has some very pronounced features, a long body with a long neck and a very angular, long nose. She is regal in stature. This drawing is a fun, quick study. It is good to throw caution to the wind at times. Occasionally it is good for what ails you.

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Nicole, Head

It is interesting to know someone visually.

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Landscape at 72mph

This is another landscape based on rolling by at 72 miles per hour. While my body is restricted to my car and the road ahead of me, my mind is beyond yonder hill.

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Crosswalk Secondary

Variation on Crosswalk.

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Crosswalk Primaries

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Crosswalk

This is inspired by a pedestrian crosswalk near where I park my car at work. Still very much a landscape.

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81 at 72a

This is inspired by views from a speeding car traveling over a constantly changing landscape.

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81 at 72b

The common visual elements at 72 miles per hour, as seen from one's side window are horizontal.

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Eight West Eighth

This is a view from four stories above 8 West Eighth Street, in New York City, looking directly down. It is abstract in nature and is inspired by a panoramic photograph taken with my cellular telephone. I find it interesting how the 3 dimensional perspective becomes distorted because the 3 separate angles this image is comprised of (up the street, straight down and down the street) are combined on one flat plane. The media used, soft pencil and oil stick, is fun to work with.

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Trees on Washington Square

This drawing was done the same day as "Judson Memorial Church," below. It is an abstraction of trees. I was standing near the corner of Washington Square North and MacDougal Street, at the entrance to Washington Square, facing south (at the virtual center of the Beat universe some fifty-plus years earlier, Ferlinghetti and Ginsburg hung out a block away at 8th and MacDougal, Bob Dylan stayed at what was then the Hotel Earle on Waverly Place in 1961, just over my shoulder. Funny thing is I didn't know that when I was there). These trees were lined up along MacDougal Street. It was a nice September day in New York City.

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Judson Memorial Church

This drawing is of Judson Memorial Church on Washington Square South in New York City. My vantage was just inside Washington Square at Thompson Street. I was looking over trees and power lines at the tower and the facade of the church across the street.

"Power lines," those words evoke a pleasing concept.

Private Collection

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Corner

My friend, Art Lien, says these are very different from my other work. He is right. They aren't as unrestricted, but they do posses a strong abstract component that I very much appreciate.

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Kitchen Floor 2

This drawing and the one below, I often consider as a diptych, or two drawings mounted together as a unit. They are really 2 individual pieces. Thoughts?

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Kitchen Floor 1

A kitchen floor landscape.

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Untitled Figure

I like the solidity in this figure, especially the forward arm and thigh. Much is said with very little. There is a nice variety of line.

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Back

Drawing is fun. Drawing is a struggle. I like the left leg and the line on the right side, together. They are the most efficient parts of the drawing.

Private Collection

Comments (3)

Nicole

This drawing was done on Reeves BFK paper, a very soft paper. I like the less finished portions of this drawing the best, especially the model's left hand and forearm. The lines present in those areas are direct and suggest the form nicely. Less is more.

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Untitled

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Untitled

I love drawing.

Private Collection

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Untitled

This head was drawn using charcoal pencils on grey bogus paper. Bogus paper is an inexpensive paper that is on the pulpy side and has a nice tooth, The grey shade is nice as well. I first used it in high-school art class where there was an abundance of it (thanks Mrs. Bingham). I bought some not long ago to try again.

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Paintings and Drawings by John Brecht

12/14/2011

08/28/2011

12/28/2010

10/27/2010

10/07/2010

09/28/2010

09/23/2010

09/17/2010

08/30/2010

08/04/2010

07/19/2010

04/07/2010

04/06/2010

03/27/2010

03/24/2010

03/17/2010

03/13/2010

03/12/2010

03/06/2010

03/05/2010

03/04/2010

02/07/2010

02/05/2010

01/14/2010

01/05/2010

01/04/2010

12/10/2009

12/04/2009

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