The 16thC is not a time away

Just over four weeks since last drawing but not lost to drawing. So to Oxford to the Ashmolean to engage with 'Great British Drawings' and to Christ Church Picture Gallery for 'Undisputed Masterpieces'. So much to recall, so much to follow up. Perhaps the most fullfilling experience was spending time to observe and absorb pieces from 16thC Italy. Amongst many I loved Annibale Carracci's 'A nude youth seated to the right'. Drawings by Leonardo and Michelangelo were also exhibited.  When looking at these works I felt that the issues which were represented by and in these drawings were in fact the same as those which I am experiencing in my own humble way. I felt, and continue to feel, a huge empathy with these drawings.
In relation to a Michelangelo drawing of a left leg there was an exhibition note: in translating the Italian 'disegno' as 'drawing' it continued "Drawing meant not only the act of depiction, but also the intellectual process of understanding, creation, and design - a crucial combination for Michelangelo". I think this blog does convey my gradual discovery of the complexity and the holistic nature, and hence the intellectual process of life-drawing.

Such experiencies, as I have just described, extend the context for ones own work. For me there is never any thought to 'copy'. What I have come to realise is the universal engagement with similar issues by artists from different times (or should I be saying the similar engagement with universal issues). Whichever is appropriate such expeprience raises the feel-good factor within oneself.

Here is a drawing from my last life-drawing session.
It is a two-handed pencil drawing in which I have followed a process which I am exploring the potential of: firstly two hard leads (3H/4H) explore the basics of the selected aspect of the pose which interests me, then two softer leads (2B/3B) start to define, then a third layer of mark-making gives emphasis (8B). Paul Fowler, 'extreme poses' tutor, and I agreed that this distinction was clear in most of the drawing and resulted in a type and character of drawing which is particular to myself. But he was unhappy that in drawing the face I had reverted back to the 'unthinking' process of 'a face is two eyes, a nose and a mouth'. I know exactly what he means. I have not made myself aware of what I am seeing, and so my marks do not represent what I am seeing. Next time!