Author: Seb Palmer

We go to visit Dan and Amy Ellis, today. We’ve got a bunch of flowers for them: daffs and roses. Plus I have my six little artworks.

The above is the transcription sketch, on tracing paper, that I used for most of the duplication procedures, in various ways (lightbox, transfer-rubbing, etc).

I’ve got a wee bit of time, before we head over, in which to try and work up the least satisfactory variant – the much mooted ‘pastel-hued’ iteration – with some tweaking.

Pale (-ish?) pinks, blues, yellows… that’s kind of what I was going for. But it’s still all darker and heavier than I’d intended. Still, it’s a lot lighter than its opposite number!

I’ll finagle or finesse it a bit more, with some black and white line work. And then it’ll have to do… I do hope Dan and Amy like them!

Well, it’s nearly time to go on our visit. And above is how the final piece is now looking. Much improved. But still not my favourite.

And here they all are as a gallery, in the order I did ‘em, from initial pencil sketch, to five ‘full’ designs:

Watching Monty Don’s Spanish Gardens, we learned of the exquisite Casa Pilatos, in Seville.

Ironically, given I was talking about doing a lighter, softer, paler version, the first full on alternative I’ve done is the above. A much darker and rougher take on the original idea.

Could it be a kind of pendant Night Time variant of the first lighter more day time version? Hmmm!? We shall see…

I don’t think the above is finalised, or finished. It feels like it’s ’on the way’ to something.

SOME TIME LATER…

Ok, so I did a bit more to the darker ‘night’ version. And here are the two I like best, so far:

I can’t quite believe how well these two have turned out. Maybe I can combine elements of both in a single larger painting/artwork, for Dan?

I still want to do some more variations. Tonight, if poss’. I wonder how many I’ll have ready to show Dan and Amy, when we visit them tomorrow?

A BIT LATER…

Managed a couple more before sacking out. These are rather simpler. Bold daubs of colour, and more minimal line work.

Of this last pair, I think I prefer the bottom of the two. The one above it is poss’ a bit too simple/minimal.

AND FINALLY…

In bed, I finally got around to trying a subtler more pastel-hued version. This one hasn’t come out so well. In my opinion. It’s the final one. At least for today. Giving me six variants in all.

I kind of want to stop at this point. I feel I’ve achieved what I was going for. I’d like to try some other variations; e.g. a more pale pastel-hued version, possibly going for lighter line work.

One of the things I love about making art in this vein, is the combination of chance and control, chaos and design.

Inevitably things happen – or at least they do with me – that are unintended. Indeed, the methods I use are intended to induce the unintended.

Or perhaps that should be unforeseen? However one expresses it, I can always fall back on the Bob Ross’ formula: no mistakes, just happy accidents!

Here’s a gallery of my current WIP, a design for a painting for Dan & Amy. I might well do several other versions. Poss’ explore different colour schemes, etc. We shall see!

That’s it for today. Time to turn in. Hope I sleep better tonight. Last night wasn’t fun. Woke about 2:30 am. Ended up getting up/dressed, and sitting downstairs, reading, etc.

More Picasso mining… It’s funny how sometimes stuff just falls into place. And other times? Well, these two feel like ‘other times’.

I’ve felt pretty happy with almost all the recent artworks, up till these, today. I s’pose you can’t win ‘em all? And it’s okay to just plug away, sometimes.

Besides? These are studies, and works in progress. They might come good…

Having said that, the right hand one is pretty much done, I reckon?

Well, whatever… as folk say these days. They is what they am. And I’ll leave them as they is, for now. Mayhap I’ll grow to like ‘em? Or else I might work further on ‘em?

I thought I’d take a Picasso book with me to our pub brunch. So I took this smaller more portable one, above.

A conversation this morning, with my ol’ buddy, Dan Ellis, got me thinking I’d like to make him a piece of art. And gift it to him/them. I only hope I can do something they might actually like!

We gifted him/them a Japanese print, a while back. I’d wanted it to be a flute player. But I couldn’t find one! I’d like to a flautist avec his lady. And the above gallery is some kind of seam of inspiration for me.

Picasso’s prolific energy, the diverse range of his output… its staggering. Literally, to me at any rate, awe-inspiring.

I include the above more for colours, and vibes, as opposed to subject or literal structural design. And I include the painting below simply because I utterly adore it.

Anyway, I hope Picasso will help me channel some artistic vibes, and come up with something Dan (& Amy) might like enough to put up on their walls…

So, to battle…

LATER…

So, I’ve done a first sketch, of flautist and lady. I’ll now try working several versions up, in a variety of ways. I want warm but subtle colours, combined with bold simple lines. Let’s see what I can do…

Well, it’s the end of the day. Time for beddy-bye-bumpkins! And I’ve made some progress on the mooted Dan & Amy artwork. I’ve got a line drawing I’m happy with. And I’ve even started in on a colour version.

This is a very interesting album, in my opinion. Scott Yanow really pans it, on the allmusic.com website. I think he’s mistaken.

All the material is by Steve Allen, the famous TV talk host. He was a prolific composer. And here, he gets to have eleven of his compositions played by a stellar cast of jazz cats.

The circumstances that lead to this recording are fascinating. Chet, a notorious junkie, had been attacked by some underworld ne’erdowells. They targeted his mouth, knowing its importance to him, as a trumpet player and singer.

It’d be great to know more about the album’s genesis. Basically Steve Allen was helping Baker restart his musical career, after a traumatic event that could well have ended it. And for that reasons alone, it’s a really interesting musical document.

But it’s better than just a curio. The players are all top drawer jazzers: Paul Smith, on keys, is best known for his work with Ella Fitzgerald. Here, in addition to piano, he plays a rather unusual sounding organ, as well. The timbre of this instrument, which is all over most of the album, lends it a distinct and unusual feel.

Bassist Jim Hughart played with a huge number of big names. I first encountered him through his tenure with Tom Waits, in the latter’s earlier jazzier beatnik phase. And then there’s guitarist Barney Kessel, a six string artist of great ability, who plays in a very understated manner on these recordings.

And on drums, we have Frank Capp. As with the other ‘residents of Albert’s House’, Capp’s resume is a who’s who of famous jazzers. So the supporting cast are uniformly top notch.

It is true that Baker himself isn’t sounding at his tip top best here. But it’s not as bad as Yanow makes out. In fact the liner notes for these recordings refer to Baker’s ‘restrained’ readings. Outlining the melodies, and taking it pretty easy solo wise.

The notes put a rather odd gloss on this, as being only right and proper, due to the unfamiliar repertoire! I guess it wasn’t thought apt to spill the beans on the shadier and much sadder truth?

But this slice of Allen’s compositional repertoire is another reason this album ain’t as bad as some make out. I’d rather listen to these very mellow and rather cosy recordings, for example, than to the album Chet Baker Introduces Johnny Pace, in which – whilst everything’s much more polished and familiar – what we get is basically a Sinatra knock-off.

Whilst researching this post, I discovered the above. A recent (2024) release of a never before available 1972 recording of Baker and Jack Sheldon (who, like Hughart, and even Barney Kessel, recorded with Tom Waits). Read more about this here.

FOOTNOTE

The story I first heard about Chet getting beat up is his own version, as given in the movie Let’s Get Lost. But this interesting piece, with a reference to the movie Rashomon, suggests the truth might be more murky and complex. As several folk in Let’s Get Lost say, Chet liked to milk his stories for effect/sympathy!

Last night, having done no art during the day, I sketched out a couple of ‘via Picasso’ pencil drawings. Drawing inspiration from Josep Palau i Fabre’s third large volume on Pablo:

This is my most recently acquired in this suite of very large and very lovely tomes. And it’s the one I’m least familiar with, contents wise. So I thought I’d have a butcher’s…

I quite like to draw upon (boom boom!) almost any old image. I will select some and reject others. But often the ones I pick aren’t those I necessarily like the best. They just appear, to me, to have something I could learn from. Quite what, I’m not always sure.

As can be seen, from this and previous posts, I’m maximising the use of the sketch pad, by working both pages. I need to spay-fix the resulting artworks, to minimise them printing onto each other.

Sometimes I’ll just work on one. At others I might work on both. Mostly I’ll concentrate on one at a time. I’m still using mixed media. And I’m finding that enjoyable and satisfactory for what are, to me, preparatory or exploratory sketches.

For some reason, for me, Picasso, with his volcanic outpourings of creativity, is a go to seam of inspiration. I can mine in the many chambers of his creative catacombs, and never fear I’ll run out of exciting ideas.

I even find it intriguing that he might have certain popular recurrent themes – bull fighting, theatre and the commedia dell’arte all spring to mind – that I’m not that fussed about myself. I can still milk these strands for ideas.

I reproduce the current WIP, above (exactly as it is at the top of the post), again… so as to have it in view whilst reflecting on it. I’m reading it – in my version – as a figure with an inverted guitar in a brown room, against a door opening.

There are elements of symmetry, balance, or ‘echoes’, some drawn from Picasso’s work, and some that I’ve introduced myself. I can tell that I want to ‘abstractify’ the whole thing a lot more. And probably soften some of Picasso’s harder angles/planes.

Picasso likes things that double up – a bike seat and handle bars become a bull’s head, for example – and here a figures’ body is also that of a guitar. The Harlequin references – the diamond pattern and funny (admirals?) hat – are retained in my version. But I think I’ll work them into something less obvious.

Started working a bit more on the second piece.

Much to my surprise, I actually quite like where the second piece is headed. Once again, it’s a combination of Picasso, and my own stuff. Whilst mining Picasso, I do have to make these things my own.

I started using some cheap gouache paints, that I got from WHSmith, in Peterboro’. They turned out to be a bit more translucent/transparent than I had imagined they would be. But that’s not proving to be a problem, so far…

After quite a productive weekend, Art wise, today saw a bit of a slow down. I sketched this one (above) last night, in bed. And I coloured it today. Or rather this evening. Once again, in bed!

Yet another ‘via Matisse’, from the above book, which is one of several I bought from the wonderful Black Gull Books, in St Leonards, during our holiday there last year.

I feel this one is more like a sketch ‘along the way’, if you like? I’m taking a work by Matisse, and trying to extract something from it I can turn into something of my own. And it’s not there yet.

I like using the woodworking clamp, as pictured above, to keep the sketchbook under control, whilst I work on the opposite page.

I’ve gotten into the habit of using both sides of every page. Given how expensive art materials have become – they’ve always been expensive, and are now getting to be insanely so – this gives more mileage.

Up until now, I’ve been almost rabidly enthusiastic about Picasso. And I’ve had little or no time for Matisse. Picasso’s often more brutal, sometimes even downright ugly work, always bowled me over, with its sheer raw energy. I felt Matisse was too slick. More designer than artist, perhaps?

This Tate book, however, juxtaposing as it does, the work of these two modern masters, has taught me, at long last, to really love Matisse. It’s opened my eyes to his work, in all honesty. He’s certainly more overtly and obviously sensual and seductive than Picasso.

What previously seemed a little odiously smooth, has started to look, very simply put, plain gorgeous. For all the parallels and similarities – and this book/show/curatorial theme highlights how close they were in many ways – there is also a striking difference.

I could waffle on about all of this here. But I haven’t even read any of the book, which most likely addresses such issues. As with most art books, I’m here for the imagery, not the text. I’ll leave further cogitation for another time/place.