A 365 daily drawing project begun in good faith, but thwarted by life, death, progress and other forces. I have since scaled it back to “regular” but I still aim to fulfil the 365 target.
The process has thrown up so many unexpected things, ideas, personal development, a noticing of what I notice, discovery of stories, and connection with other people,none of which would have happened otherwise. So I would recommend trying it, as long as you don’t mind loosing time and don’t value your sanity much.
This is a real hotchpotch of drawings from various places over the last few months. As my time is very short I have taken on the process of starting the sketch from life, taking a photo, then finishing the drawing later from reference. This was against my original principle of doing this project, but it’s that or not getting anything done, so.
I have made some of these drawings available as signed digital prints on my Big Cartel store. Please have a look, there is some of my colour work available there too.
Sometimes I have made short little videos of the process of the drawing and you can see those by clicking on the Instagram link below the image and swiping to the left.
During out stay we were fortunate enough to visit the Rudolf Belling exhibition at the Hamberger Bahnhof museum. I was relatively unfamiliar with his work before this but we all really enjoyes seeing his work.
At the very beginning of the 20th century Rudolf Belling’s name was something like a battlecry. The composer of the “Dreiklang” (triad) evoked frequent and hefty discussions. He was the first, who took up again thoughts of the famous Italian sculptor Benvenuto Cellini (1500-1570), who, at his time, stated, that a sculpture should show several good views. These were the current assumptions at the turn of the century. However they foreshadow an indication of sculpture being three-dimensional.
Rudolf Belling amplified: a sculpture should show only good views. And so he became an opponent to one of the German head scientists of art in Berlin, Adolf von Hildebrandt, who, in his book, The problem of Form in Sculpture (1903) said: “Sculpture should be comprehensible – and should never force the observer to go round it”. Rudolf Belling disproved the current theories with his works.
His theories of space and form convinced even critics like Carl Einstein and Paul Westheim, and influenced generations of sculptors after him. It is just this point which isn’t evident enough today.
I hope to make a more comprehensive post about his work in the future.