Driver Hat

 Maquette. Driver Hat. 2025.

Vine Charcoal, Black Pencil, Dry Ground & Pastel on Newsprint.

9" x 9".

Casey Klahn.

The Beautiful Troublemaker

Top:

Nude on the Couch (from the movie The Beautiful Troublemaker). 2019. Vine Charcoal on Old Master's Paper. 10" x 18.5". Casey Klahn. Actress Emmanuelle Béart.

Bottom:

Nude on the Couch Seen from the Back (from the movie The Beautiful Troublemaker). 2019. Vine Charcoal on Old Master's Paper. 10" x 18.5". Casey Klahn. Actress Emmanuelle Béart.

It's not the best practice: using a photo for your reference. Worse, yet, someone else's photo. Worser, yet, from a movie. But, I told myself when I started this 200 Figures Project, that instructional figure model videos were allowable. After all, I'd be needing practical, fresh sources on a constant basis, and it is about practice.

La Belle Noiseuse (1991, which is The Beautiful Troublemaker, is as much an instructional video as any other. It features long shots of the model posing, and also long sequences of the artist just drawing, or re-arranging the studio furniture. I think that's courageous of the filmmaker; it dares to bore the viewer. I wasn't bored at all! I grabbed my iPad and started sketching along with the sessions.

I am a little more than halfway through this project, but it doesn't help that I go through and cull out works occasionally (I got rid of 2 this morning!). Most of my source work is sketches from life models, and I am constantly re-mining those for new works. I am allowing master copies, and by my count those make up 9-10% of what I've posted. Instructional sources, such as Croquis Cafe and this movie, are fewer, yet. 

Thanks for following along. 

Drawing Degas

Here is the trailer for my video featuring a large scale easel drawing. That longer video is available to my Patreon subscribers. It is a full start-to-finish of a 3 foot by 2 foot vine charcoal drawing where I respond to one of Degas' bather figurines.

As a result of seeing the Edgar Degas, A Passion for Perfection exhibit in Denver, I am on fire to adopt some of his techniques and moves. One thing I took away from his pastels was that I have been working too hard! What I mean is his shorthand for skin tones with pastels was earthshaking for me. 

Details of Edgar Degas pastels showing technique.

Your hand knows how to draw. Get out of the way and watch the magic.

Henri Matisse - Modern Master Printmaker

Drawings, Lithographs, Etchings, Linocuts, and Woodcuts by Henri Matisse. ISSUU publication.

Link.

Blue Nude

Biskra Blue Nude. 2015. Pastel, Charcoal & Graphite. 17" x 14.75." Casey Klahn.

Sketch, White Nude on Blue. 2015. Graphite & Pastel. @6." Casey Klahn.

Blue Nude. Digital Drawing. Large. Casey Klahn.

My inspiration for the blue nudes originates with the 1907 work of the same subject by Henri Matisse, shown below. A disrobed woman in Algeria was his model, and the painting reflects his search for new imagery in north Africa. 

Matisse, in Biskra, Algeria: "I went from one surprise to the next - without being able to tell if my amazement came from the vastness of the country, or the new types of human being I was seeing, or from purely pictorial emotions."

A conversation between Picasso and Walter Pach, while viewing Matisse's Blue Nude: "Does that interest you?" asked Picasso. "In a way, yes...it interests me like a blow between the eyes. I don't know what he is thinking." "Neither do I," said Picasso. "If he wants to make a woman, let him make a woman. If he wants to make a design, let him make a design. This is between the two."

Late in his life, in 1952, Matisse revisited the Blue Nude title with his series of famous cut-outs. 

Henri Matisse, 1907, Blue Nude (Souvenir de Biskra), Nu bleu: Souvenir de Biskra, oil on canvas, 92.1 x 140.3 cm (36 1/4 x 55 1/4 in.), Cone collection, Baltimore Museum of Art.

American Falls

American Falls. 2014. 

Vine Charcoal and White Compressed Charcoal. 

@8" x 10." 

Casey Klahn

Intervening Space. American Falls. 2014. 

Vine Charcoal and White Compressed Charcoal. 

@8" x 10." 

Casey Klahn

Casey Klahn painting at Niagara Falls.

a thing of the mind

"Pittura est cousa mentale"

Painting is a thing of the mind.

Leonardo da Vinci

after da Vinci

@14x12"

Conte & White Chalk

Casey Klahn

Memorial Day

It was a tremendous honor to participate in creating this memorial at Ft Logan Cemetery, Denver. This is dedicated to the men of the Tenth Mountain Division (including my dad) who fought in WW II. I was privileged to render the climber and the mountains seen in the granite and the marble faces of the stone. Presented in 2009, it is a place to honor our fathers who had the task of seizing one island in the Aleutian chain, and countless mountain redoubts in north Italy. My dad remembered that the German bunkers were also cast into granite mountains; the major ones had walls 200 feet thick!


Photo: Ken Elliott.

Chauvet Caves - Art is Long

When I say "art is long," I mean even some prehistoric art survives till now and blows us away.  The caves of Chauvet, France as a for instance.


Surprisingly, I enjoy these drawings more than some of the other cave drawings.  Prehistoric Avant-Garde, maybe.


Chauvet Cave.
The Cave of Chauvet.

Looking for the Why

The Portal
4.75" x 4.5"
Graphite
Scene at "Riva Ridge," Italy
Casey Klahn

Partly because I am blocked about writing the next essay on "How to Paint for the Prize," I want to bring you along on the search for content and the need for having ideas in your art. I am blocked by the overwhelming amount of information that I have about content in art. I could tell you my ideas in painting for my recent prize. But I'm getting tired of ringing my own bell. I could write an essay on the academic truths about what content means in art; how art content is different from form and subject. So dry.

I am not lacking inspiration on art ideas - far from it. I am uber-inspired by the things I read and see concerning the masters and what many good writers have to say about aesthetics and meaning in art. How can I get you, dear reader, to ignite your spark and paint your best for that next show?

Yesterday's post on drawing, with two simple quotes from Ingres and Picasso, is foundational to what I believe about my art. Drawing is an ascendant element in contemporary art. I am reading more essays about drawing, and as a result I am going to renew my drawing focus for my next one man show. Conceptualizing my River Series as drawing-based was a huge part of the success of that series. Remember, drawing isn't as much about the tools as it is about the ideas and approach to your work.

Here are some drawing links that will get your artist's heart beating faster, and challenge you to renew your faith in your ability to win the prize of the finest art you can make.

Drawing Masters: Ingres, Pierre-Paul Prud'hon, Rubens, Käthe Kollwitz, and Picasso.
Mary Adam - Drawing Criteria.
The Rebirth of Drawing.
David Jon Kassan - This is his best video of time lapse drawing because the others lose the technique.

Speaking of painting for the prize, you would do well to follow the work of Loriann Signori, whose art was recently recognized with a first place award at the national Shades of Pastel Biennial Exhibition in Maryland.

Deer "Cast" Drawing
14" x 12"
Charcoal, Conte and Compressed Charcoal
Casey Klahn

Words on Drawing

Duc d'Orleans, 1894, Ingres.

"The drawing is three fourths and a half of what constitutes painting." Ingres

"Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt." Picasso

Mary Adam - Drawing Criteria

Mademoiselle Romaine LascauxPierre
Auguste Renoir

Mary Adam, of Trinidad & Tobago, blogs at Drawing, Etc. She has posted a concise and spot-on article about drawing basics that caught my attention. With her permission, I bring you Some Drawing Criteria:



Mary Adam:
I've always thought that Renoir was a brilliant draftsman and that everyone else would think so too. But it's by no means a universal view, and in the end it's a matter of taste and how different people define drawing. In fact there's no universally accepted definition of drawing, and it's futile to devote too much time to thinking about it.

However, it's important to me personally to have my own understanding of what drawing is, and especially what good drawing is, because otherwise how do I know what I'm striving for, and whether or not I've achieved it?

These are the criteria I use to judge drawings, my own and others:

Unity. Everything in nature has intrinsic unity. If the unity is disrupted or broken the object ceases to have life or to be itself, or the drawing is not convincing. Unity in a drawing is easiest to see in figure drawings, especially hands, and in animal drawings; but there's unity in everything, including landscapes and man-made objects. For an example of a lack of unity, imagine a drawing of a flower pot that looks as if it's made of plasticene.

Balance. I've blogged about balance in drawing before (A sense of balance). The kind of balance I mean relates to the law of gravity and it can be sensed or felt with one's own body rather than seen. A lack of balance in a drawn or painted figure or object is to me a fatal flaw, especially if it's my own drawing, unless there's a compelling reason for it to be like that.

Three dimensional form. A drawing that gives a solid illusion of three dimensions on a flat surface is a beautiful thing to see. Dark and light tones (or "shading") can help to achieve it, but there's more to it than that because a seemingly flat silhouette, or a simple contour, can give a convincing sense of three dimensional form with no shading at all. What it means is that drawing is a more complex and mysterious skill than at first it seems.

Life. Achieving a feeling of life is tied up with unity, balance and three dimensions. There's a magical quality about a sense of life in a drawing or painting, and if the work has life, then other shortcomings might be overlooked.

Renoir's painting of Mlle. Lacaux has all these qualities -- unity, balance, three dimensions and life, satisfying all my criteria. I wish I could draw like that.

Oddly enough, Picasso's sketchbook drawings of invented "creatures" (links below) satisfy all my criteria too. The fact that they have 'life" is especially remarkable because these particular drawings are of invented inanimate clunky objects which could be carved from wood or plaster.

Some of Picasso's invented forms from 1927:
(first link, bottom of page; second link, top of page)

http://picasso.csdl.tamu.edu/picasso/WorksIndex?Year=1927&ViewStyle=gallery&CurrentItem=31

http://picasso.csdl.tamu.edu/picasso/WorksIndex?Year=1927&ViewStyle=gallery&CurrentItem=61

Some of Picasso's invented forms from 1933 (titled "An Anatomy")
(first link, bottom of page; second link, top of page)

http://picasso.csdl.tamu.edu/picasso/WorksIndex?Year=1933&ViewStyle=gallery&CurrentItem=31

http://picasso.csdl.tamu.edu/picasso/WorksIndex?Year=1933&ViewStyle=gallery&CurrentItem=61

Bloggers of Note - Illustration/Drawing/On-Site

Fans of fantasy illustration and art in general will appreciate that James Gurney has a blog. He is the artist of Dinotopia fame.

His posts are outrageous and funny.

Katherine has made me aware of the SketchCrawl, and I am eager to look at good Moleskine and other sketchbookers that post stuff I like.

Those of you who value the Guerrilla Painter products like I do will be happy to see that a blog has sprung up to cover "from life" art.

Intuitive Choice in Art

Abstract Reds Over Blues
20" x 12"
Original Pastel
Casey Klahn
Collection the Artist

Things are a little "static" around here, to use the web lingo. Let's revisit a popular post that should grease the skids of creativity;

Intuitive Choices

Under the tutelage of Diane Townsend I painted this abstract work. It has some elements of color field painting, like Mark Rothko, and extensive gestural elements. The gestural nature is in keeping with the drawing roots of the pastel medium. I like the way the paper's surface is evident, and yet the color blending, and heavily worked nature of the piece makes it work as a painting for me.

Let's talk a little bit about intuitive choices in fine art. The choices that a child makes are very intuitive, because their knowledge base is limited. The hands start moving, and the limitations are the length of their little arms, and the characteristics of the tools. They are mostly trying these tools out for the very first time.

A great deal is made of technique in art. The pastel medium is no exception. In fact, technical skill is probably too emphasized in this medium. It's supposed to be hard, you see. And, admittedly, there is much to know (much that I do not know!). Sometimes beginning steps are not rewarded very well by the outcomes.

"Only when he no longer knows what he is doing does the painter do good things."
Edgar Degas said in a quote posted at Expo Degas.

So, intuition! First sketches with bold gestural marks always work better for me than deliberate and measured work. The thing is to have years and years of drawing from memory in one's back pocket, and then the quick marks made on the paper will seem intentional. I don't subscribe to the subtle and tentative working that is often required of detailed realistic work.

The same goes for compositional choices. It is not easy to describe, but I think that studying good composition is necessary, and then ought to be put out of one's mind. If you can internalize compositional knowledge, it will come out naturally as you draw. The best thing I can say is: "try it".

The ability to critique one's own art becomes more important when you want to be an intuition-driven artist. Did this one really turn out to have the best composition? Color Choices? Does it have too much to say for one painting? Ask these questions of yourself.

Wolf Kahn has a chair that he sits in and ruminates over his finished art. Most artists do take some time and distance away from their works to try and get an objective perspective on their own creations. It's challenging.

The pastel medium is "made to order" for the artist who wants to favor intuitive creation. It is a direct, and rewarding tool. It's interesting to consider that in the book, Wolf Kahn's Pastels, the great colorist chose to make the text a collection of essays on artistic process. A natural fit, I think.

New Links for the quoted post:

Diane Townsend.

Schama's take on art is somewhere between pointless and powerless, in my opinion. However, I offer you his link on Mark Rothko, here.

My Moleskine

Artist's Tape, Moleskine and Pencil

Sketch Box, Moleskine & Mouse

A Moleskine owned by

Pablo Picasso (1881-1973)
Notebook No. 53, June-September 1912,
9 x 13.5 cm
kept in the Musée
National Picasso of Paris

The sketchbook of
Vincent van Gogh (1888–1890)
Kept in the Van Gogh
Museum of Amsterdam

Moleskine Sketch books are the grail of bibliophiles, such as myself. I will post the few sketches that I do, warts and all, as I create them.

New Month - New Projects

Have I got projects in the hopper, or what?

1. Abstract Expressionism, an interview project. I will be interviewing the greats of the New York School via the magic of Photoshop and a little imagination. It will be more than a reprise of my van Gogh interview technique, though. This time, I want to produce a power point presentation out of it in case I want to "take it on the road". Look for this project during the months of May and June - I want to give myself time to make it a quality event.
2. Fifty Drawings will be my temporary substitute for my 100 paintings project, which is on hold while my laptop computer is out of reach. Subject matter will vary, but the foundational elements of my art will be on display for sick prices - basically fifty dollars. Who knows, I may even try out a Wordpress site for this one. Look for this new project around the middle of May.
3. Blogger Biennial is an idea in it's formative stages that I haven't announced yet. The origination is from the idea that I can't wait around for Venice to give the call, and so I'm going to start my own Biennial, which will be an invitational to present new art at a special virtual event. I will be announcing the jury, and starting on this one-of-a-kind event sometime this year.
4. Stations of the Cross will be my personal art project exploring spiritual focus and abstraction in my art. I will be doing the stations of the cross, in a Protestant format, and creating installations to show these works. It may be a few years in the making, but I want to get the start soon.
   

Well, that ought to be enough for a while! And don't forget, I still have an art career to attend to - with five art fairs coming up. Yikes!

Monet Report

Katherine Tyrrell has this report on The Unknown Monet: Pastels and Drawings installation which is going on in London now.

Is the old boy rolling over in his grave, or beaming with pride? I vote for the latter.

Which Artist Lives Here? Abstraction vs. Realism vs. Process - A Tag Team Battle

Ponte Vecchio - Old City

@7" x 6"
Graphite on 70gr. Sketch Paper
Casey Klahn

In the past, before I had this blog, I worked hard at unifying my work. My Colorist American Landscapes are a nicely coherent body of work, where abstracted landscapes reveal color stories that speak immediately to the viewer.

Now I have started posting both finished and process sketches, realist paintings (usually of Italy), realist farmscapes, and some abstracts. You may be asking yourself, "How many artists live here?"

I am not, as far as I know, Schizophrenic. In fact, I'll go out on a limb here, and assert that I am not. But, I do enjoy expanding my limits. Growing my artistic abilities, if you will. I have had an urge for some time to return to my realist roots. So, I started the 100 Paintings Project which stays focused on the Italian Landscape and realism, with effects of my colorist tilt. Then I put it on another blog, hopefully to reduce confusion between my styles and genres.

It's perfectly okay for Pablo Picasso to inhabit any number of genres. But not an unknown such as myself. BTW, I saw an awesome artist's tagline the other day : "So-and-so, the nation's favorite unknown artist". Anyway, my goal is to stay focused for both artistic and marketing reasons. At the art fairs, I am rigidly focused on one style for just those reasons. You have mere seconds to impress the passerby, and they don't want to be confused about how many artists are showing in that booth. Also, the fair committee takes a dim view of non-coherency.

But, here in blogger-land, I have become motivated by so many of my blogging chums and also by the famous artists that I research and oogle at on the web. So, first came some drawings. Then I fell totally off of the wagon and posted some of my abstracts, too.

Plus, I have gallerists looking in on me. They probably say, "this guy's not focused".

I am happy to be more inspired and ready for growth in my art. I want to return to figurative work, too. But, I am determined to always have a fine art body of work that stays unified. I make sure that I always have at least 40 framed pieces of these, as well. That way I can go to the art fairs and not run out, and I am ready to hang a gallery show at the same time. The probable solution for me is going to be to put up a static website that houses my Colorist American Landscapes, and keep this blog for process and broad subjects.

I am really pleased to have painted a new Colorist American Landscape around the subject of barns and outbuildings. Look for me to post it here at the end of the month.

One thing that I discovered has been the answer to a question I have been pondering for some time. I always felt that the abstracted works (see a page of them here) were harder to do for me than strict realist work where the subject is more centered on the illusions of perspective and the goal is to allow the viewer to "read" the landscape as they expect it to be. That's a forest, leading down the hill to that set of buildings. Stuff like that.

I kept thinking, "If I return to stricter reality, will the requirements of perspective and rendering be harder than these intentionally abstracted ones?" Turns out that the realist ones are easier for me, just like I suspected. They are improving as I go along, but I fail less often, and I can leave them on the easel to change a diaper, put in a movie, make lunch, etc.

On the other hand, the Colorist Landscapes require strict focus, and the finished painting needs to be done in one (or close to one) sitting. More failures happen, even though I have been at it for a number of years, now. I have found that the requirements of good abstract work are more taxing on my brain, and simple compositional mistakes have a greater impact.

Intuition and Gesture

Yellow Gesture

18" x 11"
Original Pastel
Casey Klahn
CTA

The gesture embodies the intuitive approach to art. Sure, color choice looms large. Linear composition, also big.

And I am holding drawing up as the most fundamental pursuit within the big tent that is fine art. No offense, ceramic and glass. No offense print media, and photography. But drawing is the alpha (if not the omega) of artistic expression.

So, consider the gesture. Robert Henri denigrated the gesture in his seminal book: The Art Spirit. His opinion was that the gesture cannot stand without some purpose, or composition to be a part of. However, taken as an element of expression, what else goes so close to the bone of the artist's intention as the curling, bold, climactic gesture?

In keeping with my pastel feature this month, I offer the gesture as a pigmented mark pregnant with feeling. Grab a pastel; scumble it on it's side to tone your paper. Don't think about the next color. Grab the pastel stick and make a gesture with your whole arm - No! Your whole body! How does that look to you? Can it be improved upon? Should you add some definition to it? Or should you just discard it? Another color, perhaps.

Have a seat, now, square in front of you easel, and ruminate. That's it! Get up, choose another pastel stick and gesture along the paper. Now that precious mark has been covered; changed forever.

How does the drawing look, now? Was your intuitive choice of color agony, or ecstasy?

Pastel News

Claude Monet was no stranger to the pastel medium. The link takes you to a report about The Unknown Monet: Pastels and Drawings (short pdf. exhibit catalog here), which opened yesterday in London's Royal Academy of Arts.

Of interest is the factoid that he exhibited seven pastels at the first Impressionist exhibit (Paris) in 1874. There are 20 pastels at the current exhibit, some of which are rather large. I am curious how they are framed. Are they in their original frames? Glass or plexi (if re-framed)? Katherine, any chance you have seen them?

The London duration of exhibit is 17 March - 10 June, 2007. Then the Clark Art Institute in Massachusetts will have the old boys' art from 23 June - 16 September, 2007.

Kitty Wallis of Portland, Oregon does some fabulous water lily pastels that remind me of Monet.