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Posts Tagged ‘Canon 18-55mm’

Would you feel insecure and self-conscious if you sat down in a crowded public place and started to sketch? Most adults would feel that way. It would take a really good instructor to get them so excited about drawing that their inhibitions disappeared and they could lose themselves in a few blissful moments of creation—probably like a child feels when creating art. Romain, my instructor for two sketching tours in Paris, was that kind of instructor.

Romain Olivier Thieulot is an energetic and engaging 29 year old artist in Paris. He teaches art at the University of Paris and has his own art studio. As with most artists, though, money is tight, so he conducts sketching tours as a kind of “side hustle” to earn some additional money. Although he is quite young, he is devoted to a traditional style of art rather than digital art. That, he believes, is one of the reasons why he was chosen to teach at the University of Paris. He did not go into a lot of details about the curriculum at the university, but he described the style that is taught there as “academic,” and it sound like it is a regimented system with very specific rules.

Fortunately, that is not the approach that he used with us. He coached and encouraged us as we moved from place to place with our sketchbooks and collapsible stool, all the while providing us with instructions on the major principles of drawing like composition, perspective, and showing emphasis through detail and value (degree of lightness and darkness). Importantly, I think, he left a lot of room for individual expression. Before we started to draw our first building, I remember, he told us that we could choose to draw it any way that we wanted, sketching, for example, the entire building or only a part of it. What was important, he said was to have a clear idea of what we saw as the major area of interest, because the first lines we put on the paper would dictate important considerations like scale and composition.

Romain had carefully chosen the locations and routes of these tours, one in Montmartre and one in the Left Bank area beginning at Notre Dame, in order to provide us with fascinating bits of information along the way on the history of the city of Paris and in particular on its rich artistic and architectural history. (Architecture is one of Romain’s areas of expertise and he was able to explain many aspects of the architecture that makes Paris so distinctive.)

One of the places that Romain highlighted was Le Consulat, a historic coffee house that was frequented by many of the artists, writers and painters that flocked to the Montmartre area in the 19th century, including Picasso, Sisley, Van Gogh, Toulouse-Lautrec, and Monet. In the second photo below, Romain was showing us a postcard-sized copy of a drawing that he had done of the café. If you click on the photo you can get a real appreciation of the amount of detail in his drawing. I don’t recall long he spent on that particular drawing, but I remember him showing us similar ones on which he had spent forty or fifty hours of work.

One of the fun little bonuses of Romain’s sketching tours was the quick sketch he would do of the individuals in our little group as we were at work. The third photo shows the three members of our group in Montmartre—I think it is pretty obvious which one is me.

During one conversation that I had with Romain, he shared some insights into the world of a professional artist in Paris. As we we passing a series of galleries in the Left Bank area, he noted how difficult it was to get your work into a gallery. Even if you were fortunate enough to get your worked displayed, there were so many fees involved that the artist was often left with very little money when a piece of art was actually sold.

Romain seemed to be much more content to display his work at his own studio/workshop, Atelier Thieulot in the 15th arrondissement in Paris. You can check out his studio on his website and get a better idea of his workplace and of his work. The website is in French, but even if you can’t read the details, you can’t help but be impressed by the number of exhibitions in which he has participated and the awards he has received. If you click on the tab, “Mes Créations,” you can look at his work divided into categories such as architecture, oil painting, drawing, and design. One of my favorite ways to view his work, though, is to click on the “E-boutique” tab and if you do, you too will look with amazement at his detailed drawings.

I saw some wonderful art and architecture in Paris, but some of my favorite moments in the city were spent in creating my own art during the sketching tours with Romain as our guide, coach, and instructor. I was intrigued that the tour is titled “Être artiste à Montmartre,” which means “To be an artist in Montmartre.” We were not pretending to be artists as we toiled over our sketchbooks—Romain made us feel like we really were artists.

We have become friends on Facebook, have exchanged texts since concluding the course, and he is also now following this blog. Paris is wonderful, of course, but it really is the people you meet that make a trip memorable. Thanks, Romain.

Romain Thieulot

Romain Thieulot

Romain Thieulot

© Michael Q. Powell. All rights reserved.

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I spent some of my favorite moments during my recent trip to Paris exploring again the Rodin Museum and its wonderful outdoor sculpture garden. There is something really special about seeing sculptures outdoors, where the time of day, the season, and the weather can make them come alive in new ways that are not possible in the controlled confines of an indoor museum.

When I travelled to Washington D.C. on Saturday, one of my goals was to see some of the Rodin sculptures that I recalled were in the Hirshhorn Sculpture Garden. The garden is sunken slightly below ground level and as I descended I immediately spotted the large sculpture known as The Burghers of Calais (Les Bourgeois de Calais). This multi-person sculpture is very well-known and I had seen another casting of it recently in Paris. (According to French law, there can be only 12 original castings of a Rodin sculpture, and both the one that I saw in Paris and this one are original castings.)

I couldn’t remember the story behind the sculpture, so I turned to Wikipedia. From a factual perspective, the sculpture commemorates an event during the Hundred Years’ War, when Calais, a French port on the English Channel, was under siege by the English for about eleven months. As you study the faces and the postures of the men in the sculpture, you realize that it is much more than a monument to a historical event.

According to Wikipedia, “Edward, the king of England, offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed. Edward demanded that they walk out wearing nooses around their necks, and carrying the keys to the city and the castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates. It was this moment, and the poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death that Rodin captured in his sculpture.”

The sculpture in the second image is known simply as The Walking Man (L’homme qui marche). I am amazed at Rodin’s skill in capturing a sense of movement in such an incomplete figure. For me, it’s like a three-dimensional sketch that has come to life.

The final Rodin sculpture that I wanted to highlight is known as the Crouching Woman (also known as Lust). I find the pose of the woman to be intriguing and the Rodin Museum, which has a terracotta version of the sculpture, asserts that it “looks like a compact block with limbs gathered together and pressed tightly against the torso. This block-like sculpture reflects Rodin’s aesthetic analysis of Michelangelo’s sculpture: it is a work that, to quote the great Italian artist, could roll down a hill without breaking.”

These Rodin sculptures remind me of Paris, but in a greater sense, they highlight my heightened appreciation for the work of artists. Sometimes artists capture beauty and other times they create beauty (and often they do both at the same time). What is beauty? That will have to be the subject of a separate blog someday.

 

Burghers of Calais

The Walking Man

Crouching Woman

© Michael Q. Powell. All rights reserved.

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Blogging helps to create communities. We are exposed to people from all around the world, some of whom may be like us, but many of whom are quite different. What is critical is that we interact with each other—we “like” and comment on the postings of others. All of this takes place in a virtual world and we develop relationships in that world. Wouldn’t it be cool if we could meet each other in person, in “real” life?

It may sound like the story line for a corny Hollywood movie, but an American photographer recently met an Irish poet in Paris, thanks to the efforts of a New Zealand blogger who had much earlier highlighted their respective blogs. As you might suspect, I am that photographer; Damien Donnelly of deuxiemepeaupoetry.com is that poet; and Liz Cowburn of exploringcolour.wordpress.com is that blogger.

Several days ago I said a few words about Damien when I re-blogged one of his postings with photos from our time inside the Grand Palais in Paris, so his name may sound familiar. When I first made plans to visit Paris, I thought there might be a chance that I could meet Damien, but what I did not realize at that time was that he was preparing to leave Paris. As it turned out, I made it to Paris before he left.

We agreed to meet for lunch. Have you ever met someone in person that you met initially on-line? Did you worry that the on-line “persona” would not mesh with reality? I really encourage you to read Damien’s poetry, which I previously characterized as “personal and universal,” and I can reassure you that he is just as thoughtful, introspective, and engaging in person. During our lunch together, we shared deeply details about our personal lives and our connection with Paris.

One of the things I remember best was Damien’s description of how long it took to reach the point when he felt comfortable telling people that he was a “poet.” You see, like many creative people, Damien has a full-time job and crafts his verbal art in the remaining time. Gradually, though, writing appears to have taken on a greater role in his life. As of a few day ago, he no longer has that full-time job and in a few more days he is leaving Paris.

Is he calling it quits? As the French would say, “au contraire”—Damien is in fact returning to Ireland to pursue a dream. You can read more about it in the “About Me” section of his website, but the essence is that he plans to find and renovate a property in Ireland that will serve as a writers’ retreat and bed-and-breakfast. Damien is also working on a novel and I believe more of his poetry is about to be published.

Why am I writing all of this? First of all, I want to let you all know how wonderful it is when the virtual world and the real world overlap—meeting and spending time with Damien was one of the highlights of my three weeks in Paris. I hope to have the chance to meet more of my readers whom I consider friends. Maybe New Zealand?

Secondly, I am personally inspired by someone who decides at age 44 to go all in on his passion, who has the courage to radically change the course of his life in pursuit of his creative vision.

Let me end with the words of a short poem that Damien posted a few days ago, part of a series of poems as he prepares to leave Paris. This one was entitled “Bookends; Timing is Everything.” (In order to get the full impact of the poem, you should click on the name of the poem which is a link to the original posting with Damien’s accompanying photograph and brief words of explanation.)

“Coming in

is easy.

Learning when to leave

is an art

not easily understood.”

Damien Donnelly

Damien in the Grand Palais

 

Damien Donnelly

Damien in the Grand Palais

 

Damien and Me

Damien and me after lunch.

© Michael Q. Powell. All rights reserved.

 

 

 

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It is finally beginning to hit me that my stay here in Paris will soon be coming to a close. Will this shot from yesterday evening be my final image of Notre Dame de Paris in the fading light of the day? Perhaps I will have a chance again tomorrow.

We’ll always have Paris.

Notre Dame de Paris

© Michael Q. Powell. All rights reserved.

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Yesterday, 23 November, I stumbled upon a very large and vocal march through the streets of Paris that was directed against domestic violence towards women. What really struck me were the handmade signs carried by many men and women of all ages expressing anger and sorrow at the lack of action in this area by the French government, which many see as deliberately turning a blind eye to the problem.

These are images straight out of my camera, with no attempts made to make them pretty. I have done a loose translation in the captions of the main signs that you see in each photo. If you want more details about the march, check out this BBC report.

Male executioner (Note: In French this word combination sounds a lot like Marlboro). To be born a woman kills. (Note: the wording of this warning matches that on cigarette packaging.)

Sexism kills. Feminism saves.

 

We teach our boys about consent and what happens if the state does it? No is no!

 

Red smoke. (I am not sure of the symbolism here.)

My body belongs to me. In France 2019 there is a rape every 7 minutes. We are all concerned.

Not a single one more. The state is not protecting us.

 

Four out of five handicapped women are victims of violence. The state is complicit.

© Michael Q. Powell. All rights reserved.

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It is Saturday night in the Paris, the City of Light. I took this photo a short while ago as I was crossing one of the many bridges over the Seine River.

I hope that your Saturday night is as colorful and filled with light.

city of light

© Michael Q. Powell. All rights reserved.

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When I was a college student majoring in French literature, which brought me to Paris for an academic year from 1974-1975, we spent quite some time studying the works of René Descartes, the French philosopher, mathematician, and scientist. Most of us are familiar with the quote “I think, therefore I am,” (“je pense, donc je suis” in French), but I was surprised to learn that a better English translation might well be “I am thinking, therefore I am.” Why? Those who deeply study Descartes’ work believe that Descartes was trying to express the idea that it is in the very act of thinking that he proved his own existence. I admit this is pretty esoteric and geeky, but it is part of my memories of Paris.

Yesterday I visited the Musée Rodin that is housed in a beautiful building, the Hôtel Biron, where noted French sculptor Auguste Rodin worked and lived. The French government bought the building in 1911 and was going to evict Rodin, but he made a deal with the government, pledging to donate his works to the state if it turned the building into a museum and let him remain their for the remaining years of this life. The museum and its surrounding gardens house and amazing collection of Rodin’s works, along with paintings by Monet, Van Gogh, and other artists.

I consider myself to be a thinking man and Rodin’s famous statue, Le Penseur (The Thinker) has always been my favorites. Yes, the statue has been overly commercialized and there are multiple castings of the statue throughout the world. It is difficult to say which one is “the” original, since a smaller version of the stature was designed to be part of Rodin’s large work Gates of Hell. Emplaced outdoors in Rodin’s world, surrounded by countless other works by Rodin, the version of statue at the Musée Rodin feels authentic—it is the one that was donated to the people of Paris in 1906.

One of the coolest thing for me about sculpture, especially when it is outdoors, is that you can examine it from multiple angles and the feel of the statue changes as the light and weather changes. I spent a lot of time with The Thinker yesterday and even spent some time seated on a bench with two others as the three of us silently worked on our sketches of the well-known sculpture. As the final photo shows, my skills have not yet improved, but my confidence has definitely increased. I did not feel ill at ease or self-conscious when sketching.

Two things really struck me about Rodin’s work as I was sketching. The first impression was a sense of wonder and amazement at Rodin’s ability to capture the human physiques. My rudimentary drawing skills kept rendering the body with straight lines— ended up with skinny arms and legs—while Rodin expressed so well the muscular curves of the men he sculpted. Secondly, I concluded that it is near impossible to sketch hands and feet, especially when they are twisted or contorted. There are just two many moving parts in hands and feet, which makes knees and elbows seem easy by comparison.

The Thinker in Paris

The Thinker in Paris

The Thinker in Paris

© Michael Q. Powell. All rights reserved.

 

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