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Process Sketch - Italy

Bell Tower Process Sketch
Casey Klahn

Since I missed the Wolf Kahn pastel workshop in Manhattan, I decided to "channel" him through this sketch. He makes these squiggly lines with unpredictable colors, you see. The end result, though, is a rather built up set of layers, and an expressionist landscape that pleases the eye.
In fact, I have never done one like this, and when I finished it, I said: "How did I do that? It looks like a Wolf Kahn!" I guess it goes to the "seeing" operation. If you look hard enough, and long enough at art that you like, it will find its way down your arm and out your hand, eventually.
I couldn't be happier.
Another factor is the sketch paper. I'm used to working on (expensive) Wallis Museum stock, or Sennelier La Carte, both of which are sanded heavy stock. The regular laid paper allows the sketchy look.
The big difference between a WK and my own pastels (besides about $2,000) is that he is a little more interested in the scene, or nature, than I. He uses pastels as a drawing tool, and I make a finished painting. Indeed, I visualize WK's Oil Paintings when I make my Colorist American Landscapes.
I wrote somewhere in a comment (probably Tracy Helgeson's blog) that I made the effort to go see Kahn's art at the Ameringer-Yohe in New York, while I was in transit to Italy last summer.
I was rewarded with a ring bound catalog of their last Wolf Kahn pastel show. And, I had to suffer through the assistant (not the main staff person, who was top notch) describing the artist's layer build-up as probably done in oil pastel. (steam coming from my ears, here)
Back to my drawing. I also played a lot with the colors, by building up as many layers as the cheap paper would take. I was thinking of van Gogh's Auvers church, and looking for a complex of colors for the main building and tower. I was thinking of his letter where he describes the pink road in his painting.

R.I.P.

Vincent was denied a church funeral because of his suicide. Those were the days when it was considered a sin.
VVG had plenty of that. Sin.
His mother wished him dead well before his actual demise, and his father disowned him.
In the list of shared background that I have with VVG, there is the matter that I have my BA in the Bible and theology. One of the things in the van Gogh story that has been bugging me is the art critics who write the histories of the old boy have him renouncing his Christian faith.
I find no evidence of that. Yes, he most definitely strayed "off the reservation", and had unkind things to say about the church. He cohabits with, and consorts with, prostitutes. Then again, Hosea the prophet (remember, he has a whole book of the Bible) was married to one of those, you may remember.
But I see no renunciation of Christ. In fact, I see evidence to the contrary. Unlike myself, the old boy was a Calvinist. Strictly speaking, these guys think that one is "Once Saved, Always Saved". Which means, once you have been compelled, via Holy Election, to accept Christ, you will not stray, in spite of any evidence to the contrary. For you non-theologically minded, let's put it this way: if you were VG's father, a Calvinist minister, you would believe in the secure salvation of Vincent, no matter what he did after accepting Christ.
His parent's ungracious behavior towards him was understandable, in sociological terms. The first people you lose when you leave behind your sanity are your family. Turns out, more tragically, that many of Vincent's immediate family had dementia in their final days, due to the ravages of syphilis.
Of course, van Gogh is a father of Modernism. Yes, he exalted self, art, and nature. Certainly these things may crowd out the heart's room for God. I see nothing in that, however, to irrevocably overcome his place in the eternal. God knows, not I.
For the irreligious this may be a painful and seemingly unnecessary post. But I don't know how, without bald redaction, one can study the artist van Gogh without his faith, or art history (western) without Christ. It would seem to be impossible.
Certainly, it needs to be said, that the trend among VG's historians to strip him of his salvation is probably ill-informed, at best. I don't think I would be too surprised, standing on the other side, that I should meet the great artist, Vincent van Gogh.

It appears that others have covered this same ground, and agree with my thesis.
See:
This article by Cliff Edwards on VG's faith.
Also:
"Few images in modern art have so captured the attention of the public as Van Gogh's Starry Night, a painting that reveals all the light and glory hidden in an ordinary evening sky. In this very readable study of Van Gogh, essentially a spiritual biography, Kathleen Erickson explores the intense spirituality of the painter, from his early religious training and evangelical missionary work to the crisis that occurred when the church rejected his more radical way of following Christ. Erickson argues (against many Van Gogh scholars) that the artist's mature work reflects not a rejection of Christ so much as a rejection of a dogmatic church, seeing instead in the famous images of his art a profound connection to Christian symbols. Throughout, she helps us to discover the source of the power in Van Gogh's stars and sunflowers." --Doug Thorpe in this review of At Eternity's Gate: The Spiritual Vision of Vincent van Gogh.
From Publisher's Weekly:
"Erickson's account of the spiritual dimensions of van Gogh's work is an important corrective to two widespread assumptions: first, that his background was theologically Calvinist; second, that he abandoned religion when he began his professional career as an artist. Drawing extensively on van Gogh's correspondence, Erickson argues convincingly that the so-called Groningen school?(sic) more Arminian than Calvinist?was the foundation for van Gogh's religious outlook and that his abandonment of institutional Christianity (precipitated by disillusionment with his uncle and theological mentor, Johannes Paulus Stricker) was not so much an abandonment of religion as a move to synthesize Christianity and modernity via mysticism. Her discussion of van Gogh's late work is particularly compelling in this regard. Erickson's diagnostic discussion of van Gogh's mental illness is intriguing, though such extended discussion of whether he was epileptic, bipolar, schizophrenic or a combination is more of a distraction than a contribution to artistic or religious appreciation of his work. This work is a lucid and accessible contribution to understanding the religious character of van Gogh's artistic vision."
Copyright 1998 Reed Business Information, Inc. (Pasted from Amazon)
I won't argue the Arminian vs. Calvinist parts, here.

Note: now I still need to post regarding the lessons I learned by "seeing" VG's art, and producing a work after him.

Van Gogh Work Finished

Passing Around the Corner
Pastel
Casey Klahn
$100, Buy it Now
100italianpaintings
or post a comment to purchase
Plus tax and shipping where needed

Here is the final painting for my van Gogh project.
I backed off of the desire to "be" VG, and decided to use my own style, plus influences.
Tomorrow we'll put the apparition back in his resting place, beside Theo. With summary. Or, is that eulogy?
Do hop on over to my new blog, 100 Paintings-Colorist Italian Landscapes.
I will be posting a new pastel painting of Italy every 100 hours , with a colorist twist. When I get fully up, I will be putting them up for auction, with a 100 hour duration for bidding. Early viewers will be offered the flat $100 rate, plus tax & shipping.
After the one hundredth painting, I will cease making Italian landscape miniatures.

My Inspiration for Colors

The Church at Auvers, 1890

"I have a larger picture of the village church-an effect in which the building appears to be violet-hued against a sky of simple deep blue color, pure cobalt; the stained-glass windows appear as ultramarine blotches, the roof is violet and partly orange. In the foreground some green plants in bloom, and sand with the pink flow of sunshine in it. And once again it is nearly the same thing as the studies I did in Neunen of the old tower and the cemetery, only it is probably that now the color is more expressive, more sumptuous." van Gogh to his sister Wil.

The Old Cemetery Tower at Neunen, 1885
van Gogh

I am indebted to Wikipedia's entry about this image, featuring the letter and the two images that VG is writing about. Also, Katherine Tyrrell brought this church painting to my attention as a possibility for color ideas for my own The Old Man Rounds the Corner pastel.
Remember that you can review VG's letters here, and his paintings here.

Now, I want to list my observations about the church at Auvers by van Gogh:

• As always, VVG describes his paintings more by the color composition than by any other descriptors.
• He has noted two paintings that center and focus on a tall structure. I learned to do this in Italy to succeed in handling complex architectural subjects.
• He eschews perspective by minimizing aerial effects (lighter, less yellow as an object recedes to the background); rather he wants to concern himself with full intensity of color as much as possible.
• I feel that separating compliments, such as orange and blue, or violet and yellow by some intermediate colors or objects, still allows these combinations to pop. Similarity in value helps.
• Character in the structure (is it similar to a person?) is provided by loose rendering, crooked lines, and amorphous masses.
• He uses shadows here, which is less common for him. That's good since I don't use them much, but need to in my painting.
  

Going forward, I will have to decide how I feel about my picture, with it's competing elements. The bell tower is not the sole architectural element; the man competes for attention. They both compliment one another as far as symbolic meaning are concerned.
Is the "old world" going around the corner? Is the church relevant to today? What about Italy? What is it's place in modernity? Is my painting too dear, sympathetic or nostalgic? Do those feelings have any place in art, today?
I actually have completed the small sized painting of the old man and bell tower. It, along with 3 or 4 works are ready to be posted, once the photos are produced. But, this smaller one is part of my Colorist Italian Landscapes; 100 Paintings project. I wish to create a bigger one for my VG project.
I am intrigued by Katherine's assumption of the old man's marks and tools. But, I guess I have enough on my plate for now, and will have to be satisfied with discovering his color process in my painting.

Coffee With Van Gogh

"Are you getting my best side, Vincent?"
"Ya, Ya," says the old keener. He hatches here, he measures with his pencil and finger in the air; squinting with one eye.
I sip my coffee, made American style. Ahh, life is good...

Paintings Preview and Rollout

Plaza with Red Building
4.5" x 4.75"
Original Pastel
Casey Klahn
$100
100 Paintings - Colorist Italian Landscapes
Framed Size, 10.1" x 10.1"
White Double Mat; Black Wood Frame

Here's a preview of my new project. It is a "Daily Painting" style project, with my own branding and some fresh ideas.
First of all, I bow to the one who I understand is the originator of daily paintings blogs, Duane Keiser. He also invented the 100 paintings and the $100 price point. He recently wrote that he expects repetition of his groundbreaking idea of daily paintings and the blog. He says that he appreciates when artists credit his originality, but he notices when they try to "fit" art into the daily blog format. I see the concern.
To be completely honest, I have been sitting on a big stack or two of custom and pre-cut double mats, with frames for 2 or 3 years, now. Framing prices being what they are, it has been a long term goal to utilize that studio stock. Thus comes the 4.75" by 4.5" size of these works.
Years ago, I did small landscapes exclusively. But as I progressed along with my Colorist American Landscapes, I adopted bigger and bigger sizes. It got to the point that I was doing almost nothing in an inexpensive size. That bothers me, since I want everyone to be able to afford original fine art if they want it.
Also, I think that I am now finding my "voice" in realistic Italian landscapes, in pastel.
My own project shall be themed around this number 100. There will be 100 paintings, then it will end. If you want more, that will have to wait for another theme and project.
In addition, each painting will bid at a starting bid of 100 dollars, and the duration of the eBay auction will be 100 hours.
This gets me off of the daily production schedule, and into a sane 3-4 day cycle instead.
The subject matter will be the Colorist Italian Landscape, based on my travel there, and my true passion for the subject.
In my Colorist American Landscapes, the abstract elements are favored over the actual landscape. In the Italian paintings, I return to my realist roots. This move was forced more by the subjects themselves than any other reason. They do, however, contain heavy colorist influences from my past few years' work in colorism.
What is more, I am offering this "patron's preview" to my growing group of viewers here at The Colorist. I will be selling them to the first come, first served at the flat $100 rate. No bids, just contact me at caseyklahn@msn.com, or post a comment, or call at 509-796-3277. Postage to be figured by Federal express air rates.
Break open a bottle of wine, or vino I should say, and enjoy this offering of very whimsical scenery from the country that looks like a boot.

The Van Gogh Code

In the interests of taking this van Gogh study to the edge, and nudging it over, we introduce:
The Van Gogh Code !
Why does the van Gogh Museum, Amsterdam continue to deny the existence of any photographic evidence of Vincent van Gogh?
Why, when faced with this study of an uncanny photo does the Dutch institution with the most authority decry what may be evidence of Vg's appearance?
Did he ever really exist at all?
How is it possible for a man of his artistic posterity, with a large immediate family of siblings who were close to him, to escape the all powerful lens of the camera?
What skeletons lie beneath the foundations of this great art institution? While we're at it: what does the Louvre know, and when did they know it?
Don't tell anyone, but I have become privy to secret knowledge which indicates that the whole Vincent van Gogh legend is as phony as the moon landings, the death of Elvis, and (fill in your own pet myth).

Italian Landscape Sketches

Enjoy these "process" sketches for my van Gogh project. Italian landscape subjects.








I promised to do van Gogh works from life, and to use his subjects. Then, I also set a goal of producing a painting from one of these sketches.
Although I have been drawing outside, I haven't developed these into finished sketches yet. Stay tuned on that. Also, I have never been to Provence, or the low countries, for that matter. But, I recently did travel to Italy, and so these subjects are as close as I get toVG's subjects. Well, actually, my home shares a lot of geophysical likeness to VG's landscapes. The local wine makers remind me of that on every label.
I had wanted to pursue the Portal drawing as a painting, but it seems to reside in the gray scale world for now. It seems to emanate a lot of power for me just as it is. But, the wonderful scene of an old man rounding the corner on the street in front of the bell tower has potential for a painting. Hello, symbolism. Hello, strong yellows.
Anyway, I offer these drawings as an insight into the process of studying van Gogh.
Do visit Making a Mark, today, if you are serious about looking at VG's color compositions. Plan to take some time pursuing the copious links that Katherine Tyrrell (whom I dub the content queen) provides. I hope you're OK with the nickname, Katherine!

Portal

Portal,
Graphite 4.75" x 4.5"
Italian Landscape

Casey Klahn

Remember my sketch of the traditional Italian house at La Ca? Another half a kilometer down the road lies the scene of my next sketch, a little stone garden hut tucked into a steep downhill slope.

We're going to deviate from art discussions for a minute, here. You'll see the reason, though.
The famous Tenth Mountain Division of the U.S. Army fought a battle in North Italy that is fair to describe as the "Monte Cassino of the North". My late father was there. Last year I visited the scene of the battle at a place the Americans named Riva Ridge.
The elite American mountain troopers conducted a night assault, in winter, up a rock face in what amounts to one of the most spectacular actions of the Second World War. Three other major American assaults by seasoned and first-rate units had been repelled by this "impenetrable" Nazi German position. On the top of Riva ridge were the German's elite Gebergsjager - their own mountain troops.

Aerial Tramway, Feb., 1945 Italy

The most iconic photo of this key battle is this one showing the Tenth Mountain Division's special evacuation and supply tram that was installed in support of the high angle operation. Ammo and supplies went up; wounded and dead came down. What I learned from a veteran is that the small building pictured in the famous photo, was the temporary mausoleum, or collection point for the dead G.I.s and Tedesci (German) alike.
In my drawing is that same building from the old photo. I feature the acute downhill slope towards what is now a garden hut, with a portal through the foliage at the right that leads downhill towards the ravine. In the background, the Riva Ridge ascends towards heaven.
I incorporated some of the VG marks that I have studied, and am using his Garden Cottage drawing as a type of image with copious amounts of foliage, with a structure in the background.

The photo I took of the garden hut, Italy

The entrance to the erstwhile mausoleum.

Influence of Van Gogh

VG's influence on my art is already pretty much present. Color, gesture, impasto. Feeling.
In my van Gogh project, to add to my studies, I am choosing his subjects as well. And, his methods of working from life.
It looks like I may have found the painting I'll be working on, based on a photo I took in Italy last year. It's the hardest one I could do, with receding perspective (looking acutely downhill, then continuing up in the background), too much foliage, and other challenges. But, it has the passion! I actually had tears drawing the study.
The Cottage Garden drawing that Katherine Tyrrell posted is a good VG drawing for me to key on, then the opportunity will be to select some good VG colors.
According to one of my sources (Gayford), he would often execute a painting at lightning speed. Brush strokes, intention, gestural movements of brush on canvas. But, he was organized of thought while producing these "fast" works. His sense of composition was pre-ordained by days of thought about what each painting should be.

La Ca, Italia

La Ca, Italy, 5.25" x 5.25"
Graphite on Sketch Paper
Casey Klahn

This little traditional Italian house is tucked into the "front" of Riva Ridge, in a town with the likely name: La Ca. The landscape is dominated by that precipitous ridge, and the not very distant snowy Apennines.
It is the sight of some very high drama in my late father's youth, during that little event called WW II. I visited there last year, and it isn't hard to see why I have so much passion for lovely Italy.

Riva Ridge Operation.

I long ago gave up on cross-hatching with pencils, as I found that varying pressure worked better for me. But, with the influence of van Gogh, I am trying to put it back into my repertoire. It does seem to work better when scanning or printing from pencil.
Also, I don't usually "hatch" trees, but it worked well here to push this one forward.
The wonderful, late Bill Mauldin was not on my conscious mind, but his influence is all over this, too.

Van Gogh Project Update

Katherine Tyrrell, over at Making a Mark, has this update on how everyone is doing on the VG project.
I also wanted to paste what I said on her posting, since I hear some artists struggling with various issues about van Gogh. My comments follow:

This is a good round up. Much thanks.
Other than some some really bad photoshopping on my part (albeit entertaining), I am attempting to recognize the long shadow of VG's person, and at the same time his oeuvre that I describe as "colorist". That's "colourist" for all you English-speakers.
I don't link his bad behavior to his earthshaking body of work. Some pretty cunning, and I think altogether preposterous theories have been put forth by absolute experts on VG.
He had a condition that made him "see" everything slightly yellow, you see.
He sucked on the end of his lead-covered brush, you know.
His condition made him super keen to produce art differently than his fore bearers.
Whatever. It doesn't pass muster with me. And I write these things to encourage my peerage in this project to try to take the "old man" with a grain of salt.
There is forgiveness, especially postmortem. Look at the parts of his work that inspire you, and follow that muse.

Friday, February 09, 2007

I took my son to the art store and we purchased some varied drawing papers, with tints that put me in the mood for VG drawings. Stay tuned.

Van Goh and Xanthopesia

Yellow Photoshops while suffering from Xanthopesia

Can you even see the color yellow? You must have xanthopesia.
(Rolling my eyes, and falling on the floor, laughing. Now kicking. Now crying from belly- laughter)
The most preposterous explanation yet of van Gogh's usage of color. If you don't paint the subject by it's local color (it's color in actual reality), then you must suffer from some malady. No, you are crazy. Yes, that's it.

Van Gogh Project - Sketches 1.0

First Sketch, Sunflowers in Snow, 12" x 12"
Charcoal on Sketch Paper
Casey Klahn

Happily, a new snow had freshened up the ground just in time for this sketch of winter sunflowers. True to form, the rain started to spit on me while I was drawing it. Here it is in unimproved format, loaded from the scanner bed.

Van Gogh Sketches

All drawings, Vincent van Gogh.

Building in Eindhoven (The “Weigh House”), Neunen, Feb., 1885

Snowy Yard, The Hague, Mar., 1883

Garden in the Snow, Neunen, Feb., 1885

Oxcart in the Snow, Neunen, Aug., 1884

Old Man Drinking Coffee, The Hague, Nov., 1882

Five Men and a Child in the Snow, The Hague, March, 1883

Edge of a Wood, Etten, July, 1881

Dance Hall, Neunen, Dec 1888


I've decided to begin my van Gogh project participation by studying some of his sketches. I post a few of my favorites here.
I chose these for the good figure works, and some for the addition of Conte, or colored chalks, and others for the representation of snow. I'll be doing a few snow scenes as well. I tried to stay with graphite or charcoal works, here. One of them may be reed pen, but my sources don't say.
Before I could commit myself to this van Gogh inspired project, I had to clean up my old studio space , which is in the house. It had been half way moved out to my new 12' x 60' studio, which is a surplused house trailer. It is halfway remodeled, and sans electricity.
So, now that I am re-established in my old studio space, I am ready to go with the new works. I will begin with drawing, as it was the foundation of Vincent's work. He almost always worked from life, rather than memory or reproductions. He did do a little of the latter, especially to copy his own studies, or the etchings of other artists that he admired. He was much influenced by Jean-Francois Millet (French, 1814-1875) and Harmenszoon van Rijn Rembrandt (Dutch, 1606 - 1669), who were both good draftsmen.
I seldom work from life nowadays, although I have done much of it in the past. My Colorist American Landscapes are studio works, from the imagination or removed memory. I noticed that for many of the others in this project, the van Gogh study will be a move away from realism. For, me, it will be a move toward realism.
So, I will be drawing from life, as van Gogh did. He not only didn't have the CRT or Photoshop, he really didn't even have the photograph. Photography was new in his day; it represented a challenge to the ageless pursuit of fine art, and what is more I understand that he disliked the evil photo. I share that opinion.
Anyway, I think that it will be hard for one to gain his perspective without going outside, or at least setting up a still life. I will finish the project with painting, however.
Then, also to get close to the keener's (*) motifs, I want to choose the same subjects. Sunflowers, check. Wheat fields, got 'em.. Orchards, check. Marine climate, check. Maritime subjects, check. Sunlight, check-er-rooni. Self for portraits, check.
Wish me luck!

Here are some links that I don't think I saw on blogs of other artists doing this VG project:

Unabridged Letters by or to Vincent van Gogh
http://webexhibits.org/vangogh/
Van Gogh at Etten. Interesting and broad based web site.
http://library.thinkquest.org/C001734/index.html

(*) "Keener" is defined in urban slang as a nerd or eager-beaver. But, I am using it in it's old school definition of one who is keen-edged, knowledgeable; also the Irish give the keener tragic substance.

We Share a "Lust For Life"!

Things are getting ugly fast at our little French Cafe. In my worst French, I yell for another: "Guinness, fille!"
Icy stares from waitresses are my only reception.
I would crawl under the table, except that is where van Gogh is. And the fish on his breath is too much for even my iron constitution.
"I think it's time that we beat a hasty retreat, Vincent. If we crawl towards the door, we may get out unharmed!"
"Yes, let's get back to the studio. We can sober up there and try to get some work done on this VG Project of yours..."

Van Gogh Project; VG Speaks!

"You are doing vwhut?"
"Achkk! A vfan Gchock prawgekt? Even I don't know vhut my next project vill be. How can you pretend to know ?!"
"Vell, my adfice to you is to remember the colour und ze gesture. Yes, the colour iz ze meanink! Vifout zis, you will not have done a van Gogh! With the drawing, remember the gesture."

Editor's note: The good folks at Fine Line Artists are doing a project for February where each artist will study van Gogh, and produce a work influenced by their discoveries. They will be posting their progress as they go, and have opened the project for others to participate. I will be doing my project along with them, as my conversation with Vincent continues as well.
See this blog soon to see how I will have narrowed my plan down to a digestible chunk. Candidates are to do a plein air (on sight or outdoor artwork) or a portrait.