I've been drawing people all my life. Why do we draw people? I don't know, any more than I know why we make music, play games, or have pets. It seems to just be a part of human nature. Prehistoric men drew on the walls of caves, although from what's been left, they were apparently more interested in other animals than their own kind.
One
of the better things about the school system here in Italy is that in
elementary schools kids learn to draw, just as they learn to read and
write and count. Drawing is perceived as another basic skill and
means of communication. I don't recall much of that emphasis
on drawing in the USA.
As a kid, I went to church with my father every Sunday and spent
the hour, or at least the parts where we weren't supposed
to pray or sing hymns,
drawing on the borders of the church bulletins. I tended to favor
images of football players in action over
Biblical figures.
After
quietly accepting
her abject failure in
trying to teach me to play the piano, my
mother went with the flow
and sent me to an art
school in my early teens.
Although I
was eager to paint, the school insisted that first we learn to draw,
so I spent many afternoons learning how to render geometric shapes,
from fruit to vases to classic busts. The
discipline was good and
there was even
some satisfaction in
it.
However, drawing people (and other animals) is both more challenging
and more fun.
The subjects
move, which creates much
of the challenge,
and they also change expression, which has a lot to do with the added
satisfaction.
Many
drawings of people are simply made up, based on observation and some
acquired knowledge of anatomy, while
others are remembered images. Both approaches can be enhanced by
drawing people live. Shown
here is the frontispiece of the book 90
Secondi all'inferno,
with images drawn by Francesco
Chiacchio, one of the best, among people I've met, at
spontaneous drawings of remembered images.
Over
a lifetime I've found a few ways to indulge
my predilection for drawing people.
Many years
ago I visited my friend Ed Wallace in Germany, where he was studying
in Tuebingen on a post-graduate fellowship. As I was assisting his
research into the remarkable diversity of German beers, I
occasionally pulled out my sketchbook to capture the likenesses of
fellow researchers. Seeing
the results, some on-lookers asked if they could have their images
immortalized too. Presaging his triumphal
career in the law, Ed jumped up and said of course they could but
they would each have
to buy a round of beers for our table. Thus, my unfortunately
short-lived career as a semi-professional portraitist got started.
Ed was the closest thing to an agent that I've ever had. Sadly,
that ended when
we both returned to our
studies back in the US.
Nevertheless,
for a short time our research was accelerated, our spirits lifted,
and my artistic self-confidence boosted.
It's
not easy
to find a way to carefully draw people, other
than by asking them to pose for you, and
you don't know most of the people you would really like to draw.
Except for remarkable
people like Francesco
Chiacchio, drawing takes time.
If you start to draw people you don't know, they will probably
wonder why you're staring at them. They might
be offended; they may go away; but in any case they will rarely stay
in one position for long. When
by-standers
notice that you're drawing
someone, they tend to gather around you, sometimes
even offering
compliments, but the anonymity and immediacy
vanish and self-consciousness grows, making the drawing ever more
difficult. Photography has
largely replaced drawing and painting in the capture of human images
and photographers,
especially if unburdened by inhibitions, have few such problems.
They can just poke a camera in a subject's face, click and be
off., leaving
the subject to wonder if that was a new incursion by the NSA or
something else.
Snarling Dick |
The
trick is to find a captive subject. Television is one place where the subject can't object or leave, but good TV directors work hard to
see that camera angles keep changing, just to make the imagery less
monotonous. Drawing faces quickly
can lead to caricature and
I've ventured into cartooning after years of drawing faces. Some
faces lend themselves
to caricature more readily
than others. Dick Cheney's asymmetrical
snarl was perfect. He
seemed to be designed by a caricaturist and
he inspired me to devote more time to that aspect of drawing.
C-Span is the cartoonists
dream. It features talking heads with little moving other than the
mouths. Unfortunately , it's not available in Italy but I will be
visiting
the Rogue Nation this winter and C-Span should help to pass the time.
The
most obvious chance to draw people live
is in life drawing
classes. I've done a good deal of this at times but living in a
small rural community severely limits the opportunities, since
such classes tend to be
located in big cities and college towns. Years ago, professors in
the collegiate centers seemed to be always spouting the obligatory
apology
that life drawing had nothing to do with sexiness or eroticism. It's
true that when one is busy trying to understand the nuances of
anatomy, perspective and foreshortening, and
trying to capture all that on paper, the
process is about as erotic
as rendering
the effect of light on a peach. Nevertheless,
I still
think the professors
exaggerated a bit. After all, people have been paying to look at
nude women through the ages, from Las Vegas to Timbuktu.
While many drawings from life could just as well be of stones or of
fruit, there are artists,
such as Milo Manara, whose sketches are as sensuous and erotic as any
images can be. If it's
true “that beauty is in the eye of the beholder”, then Manara's
eyes are a
divine gift.
In
drawing the nude, one tries to objectively capture the essence of the
figure but I find myself either trying to idealize the form or else
tending to emphasize the divergence from the ideal, depending on
whether the model conjures images by Renoir or instead
puts one in mind of
Francis Bacon. The world being what it is today, I'm seeing people
more and more resembling
the images of George Grosz, from
another very
similar era.
Grosz nudes |
Renoir nude |
Francis Bacon nude |
Drawing
nudes is something like painting flowers. You try to capture the
beauty of the bloom but if the flowers are too wilted, the emphasis
shifts to pathos and decline. Portraiture
tends to focus on how character and life experiences have molded the
face, with clothes,
backgrounds and other props filling out the narrative.
Bodies tell their own stories too, from the dancers who often model
at life classes, recognizable by their muscular legs, to others,
too desperate for the
modeling fee to even care
that people see them in their current sad
state.
Archie Shepp in SF 1966 |
Roy Haynes at Charlie Parker Festival |
Marsalis brothers |
Raphael Madonna |
Raphael woman |
Italian 1400's |
Tony Scott (hairless) at Mississippi Jazz Club |
Tony Scott (with hair) at Iridium |
Among the many impressions I've taken away from this year's inaugural
Jazzit Fest is a sense that hair seems to be coming back. (I have
nothing against drawing bald musicians but hair is one of the
distinguishing traits of people, even if long hair and untrimmed
beards can create an anonymity not so different from bald heads.)
Given the dismal economy that we're experiencing, it's understandable that a certain amount of scruffiness is also in evidence, but at least it's a more virile sort of scruffiness. I've even detected in a number of musicians (among the more than 400 in attendance) an increased self-awareness about how they appear. Whether the subjects are bald or hairy, well groomed, elegant or scruffy, I'll continue to seek opportunities to sketch musicians as they perform. UJ in Perugia, with most of its concerts located in the huge stadium, no longer offers many opportunities, but UJW in Orvieto at New Years, still features musicians up close. I'm especially hopeful about drawing while listening at the Jazzit Fest in Collescipoli next year. See you there. I might even draw you.
Given the dismal economy that we're experiencing, it's understandable that a certain amount of scruffiness is also in evidence, but at least it's a more virile sort of scruffiness. I've even detected in a number of musicians (among the more than 400 in attendance) an increased self-awareness about how they appear. Whether the subjects are bald or hairy, well groomed, elegant or scruffy, I'll continue to seek opportunities to sketch musicians as they perform. UJ in Perugia, with most of its concerts located in the huge stadium, no longer offers many opportunities, but UJW in Orvieto at New Years, still features musicians up close. I'm especially hopeful about drawing while listening at the Jazzit Fest in Collescipoli next year. See you there. I might even draw you.