Paris – Part Seven
We got back to the hotel after fighting through piles of people swamping the subway cars. Getting our stuff and fighting those same crowds to get to the signing was not going to be fun. But we managed to get to the gallery on time regardless. There were already people waiting for me so I got right to sketches and signing.
Again, a great time was had by all. I got some fun sketches done and we sold several of the prints I’d brought with me as well as a couple of the portfolios. Everyone was incredibly nice and patient and I was able to get through everyone in the allotted couple of hours we had before Carl and I had to leave in order to catch our train back to Brussels. When we left it was snowing even harder and there were delays with the trains. We waited about an hour or longer for our train to finally leave. But we did get back safely.
This is the first trip to Belgium where I did not hit the countryside and visit the World War One sites. I miss going to Ypres and seeing the Last Post at the Menin Gate, or visiting the cemetery of Peter Kollwitz, Kathe Kollwitz’s son. But, I did finally see the Louvre and meet some incredibly nice people, which more than outweigh the other. I’m looking forward to coming back some time in the future.
As usual Carl Wykaert was the consummate host and spent so much of his precious time away from his family to make sure that I had a smooth time of it all. Thanks to his lovely wife for loaning him out for so long.
I’ve already packed and will be hitting the sack after these get posted. A long flight back tomorrow and then home again home again. As you can probably tell by the shortness of the text that I’m pretty wiped out. I’ll wrap up the trip either on the plane or after I get back.
More later…
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Paris – Part Six
Below a Delacroix.
Beautiful little Corot above. Couldn’t get enough of his pieces. Luckily there was a whole room devoted to him. I’ve always been moved by his landscapes.
And that’s just the few I was able to remember to take pictures of! As I said, the Louvre is just way to big to take it all in. So I cherry picked a bit. Was worn out by the end of our time there. Would love to have several more days there to really soak it all in. Maybe next time!
We visited the bookstore but were too wiped out to give it a thorough examination. Hit the Café and had a soda, then took off to head back to the hotel to get our stuff. When we stepped outside the snow was really coming down.
We rushed to get to the subway and saw the most ironic thing. We could hear a band playing a marching song, very upbeat, lots of gaiety, people were rushing out of the subway in droves and others were watching the band play. Right there in the middle of all this were two homeless people, one sleeping and the other sitting up, snow falling on them. Unbelievably sad. I was reminded of a beggar I saw in Prague, kneeling on hard cobblestones in an alleyway with busy throngs of people bustling by. Was also reminded of that scene in the film “Harold and Maude” where Harold and Maude follow the pallbearers out of the church as they carry the coffin to the hearse and there’s a band marching by playing a Sousa song in the middle of this melancholy scene.
More on the way…
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Paris – Part Five
Okay, more shots!
Rembrandt time! Rembrandt never ceases to amaze me with his skill, certainly, but also because of the humble nature of his work. As Raphael Soyer wrote in his wonderful book “A Painter’s Pilgrimage,” “I felt Rembrandt in the room with me.”
And it’s true, standing before those self-portraits one can feel Rembrandt standing beside you. Those kindly, sad eyes never fail to open my heart and release within me a flood of emotion. Since I was a child I have responded powerfully to Rembrandt’s work and that power he has over me has not faded over time. If anything it grows stronger.
Since Rembrandt is one of my all time favorite artists, I stopped at the above portrait to do a sketch in my sketchbook. Carl shot a few pics of me working.
The angle that I shot the sketch below makes his face look too thin. I’ll scan it later at home for a better representation.
More coming up…
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Paris – Part Four
Well, I’m sitting in my room now safely back in Brussels. I leave this coming morning back for the States after a great trip here.
This morning I got up and met Carl at the cafe where we had a nice breakfast before striking out for the Louvre. My signing wasn’t until 3 PM later this afternoon so we had plenty of time to explore the vastness of the museum. I may have to put this in a number of posts due to the amount of photos I have to share.
It was snowing like mad today and the ground was extremely slippery. We checked out of the hotel and left all our luggage with the concierge. We’d be back later to pick up everything to take with us to the gallery for the signing.
I’m embarrassed to say that as many times as I’ve been in Paris I’ve never gone to the Louvre. It seems that every time I’ve been here the lines were out of control and I just opted not to go and instead always loved lingering at the d’Orsay. So Carl was happy to be the first to get me into the Louvre.
We made good time through the museum, as I barreled along zooming to the paintings and painters I wanted to see. I’m sure I missed lots, but I got to see lots too. So, here are a few images of some of the pieces that were killing me today, some because they’re just a great paintings, others because they made me laugh.
I’m not going to go into any descriptions of these pieces or why they were killing me because to do so would just detract from the pieces themselves. NOTE: Most of the shots of the paintings are details and not full shots of the pieces.
More on the way…
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Paris – Part Three
Off for the Louvre! More paintings to see today! Then later I have my signing here at Petits Papiers Galerie which should be fun.
After a dinner tonight Carl and I head back to Brussels and then in the morning I head back to the States. It’s been a sort of whirlwind trip, but fruitful and fun.
More later, time permitting…
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Paris – Part Two
We left the auction house and walked along the Seine to the Musée d’Orsay where there was a Jean-Léon Gérôme exhibition covering the painter’s entire career.
The Gérôme show was incredible. Some of those paintings literally glowed. One that blew me away was of a market scene where color was being ground in large earthen pots. The entire scene was muted except for the colors in those pots, which were so vibrant! They had a gemlike quality about them. It was nice to see some of Gérôme’s famous works, “Pollice Verso”, “Phryne”, “The Serpent Charmer”, and many, many more. I’ve tried to find the market scene online to no avail. But here are a couple of the pieces seen today:
The show gave me new appreciation for Gérôme’s work, and I had no idea the amount of rancor he caused among painters and critics. Very interesting stuff.
But my real reason for going to the d’Orsay is to see the impressionist work there, as well as the Rodin and Camille Claudel sculptures. Those things alone make the d’Orsay one of my favorite places on the planet. And of course in the impressionist work, the painters that hits me hardest are Pissarro, Bonnard, Vuillard, Sisley, Degas and Monet. Cannot get enough of their work. Pissarro’s humble landscapes with his genius for subtle mauve kills me. I could stand in front of them for days and lose all sense of time. Then I step in front of Bonnard and Vuillard and am assaulted with color and design! Just lovely and daring.
After communing with these artists I then make my way upstairs to the Rodin and Claudel work, first to pause before a sculpture of a satyr by an artist I’m not familiar with. I pause here to sketch and let my back rest a bit before heading upstairs.
Then on to Rodin and Camille Claudel.
These sculptures move me to tears. The gestures, the subtle movement of muscle over bone, the twist of a finger, the turn of a wrist, an expression on a pained face! So much emotional content and empathy welling forth from these works! These pieces always make me want to draw, and of course, to sculpt. So I sketch from them today. I didn’t get any shots of the Claudel works, unfortunately, and my sketches are nothing to speak of so I won’t post them here either. But my sketch from Rodin’s “Ugolino” came out okay:
The museum closed shortly after I finished this sketch and we had to leave. I walked out of the museum pretty drained, as did Carl, so we headed on back to the hotel for a little rest before we went out for dinner.
Sketch of one of our fellow subway passengers.
After a little rest we got back on the subway and headed out near the Pompidou Center for dinner in a quaint French Cafe where the food was very good and we sat and chatted about philosophy again. After dinner back home and here I sit filling in the day’s happenings.
Tomorrow my signing is at 3:30 or so and we’ll bum around the city a bit beforehand.
More later…
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Paris!
Got up early this morning, met Carl downstairs, checked out of the hotel and piled into his car headed for the train depot. Boarded the high-speed train bound for Paris. It was still snowing this morning and Carl said it’s a good thing we’re traveling by train as many roads are closed today. We got there in plenty of time to get situated on the train and get comfortable in our seats.
I was up all night posting the three entries. Because of the slow Internet connection I had a heck of a time getting them to post completely. I ended up splitting one into two sections so the upload was easier. Wacky. But they eventually got up there. I got no sleep, but figured I’d sleep on the train. This was not to be. But that, too, was fine.
The train was a very comfortable ride as it barreled through the Belgian and French countryside. The snow had blanketed the land and it was quite beautiful to see, covering the farmhouses and fields. While Carl read I busied myself with taking pictures out of the windows using my phone, then sketched in my sketchbook.
Blazing along at high speed, the camera was still able to grab some interesting bits.
Below are some sketches from my sketchbook of the countryside.
So the trip was pretty uneventful and the time flew by. The trip itself is only an hour or so by train. Very pleasant.
We pulled into the Paris – Terminus Nord, bailed out and exited the station. But always time for a couple of photos.
Our hotel, The Terminus Nord Mercure, is situated directly across the street from the terminal. A short 100 yards or so. Very convenient. The rooms are nice, each with its own bathroom. A step up for me as every time I’ve visited Paris I’ve gone the inexpensive route and everyone used a communal bath, or the shower was a small cubby off the stairwell with only a thin curtain to obfuscate the view.
My hotel window view.
We gave ourselves a bit of time to get situated then met downstairs to go into Paris proper. Carl had an errand to run, dropping off art at an auction house, where we got to see a couple of Hugo Pratt “Corto Maltese” pages. Beautiful examples of the early Corto work. There was also a wonderful, large Jacques Tardi oil painting of a Paris street scene. Very nice to see.
More later in part two…
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Thursday, December 16th 11PM
Thursday, December 16th 11PM
Hello to my family all the way from Brussels! Thinking of you all while I’m here.
Just returned from the opening of the show and have had a wonderful time. It’s snowing in Brussels now, and before the show it was really coming down, large fat drops of it. Carl and I walked from the hotel to the show and I have to say, though I know my way (it’s a straight shot after all) the distance keeps fooling me. It seemed a short enough walk yesterday, but tonight it seemed to take forever! Anticipation will do that to you, I guess. There were throngs of people on the street, something to do with the government and something or other, and so we had to thread our way along in and out.
When we arrived at the gallery there were already guests viewing the work, and the wine and hors d’ouvres were making their rounds. Before entering the gallery I stopped to take a photo of the gallery entrance with a large banner of my painting “Remains”.
The snow was really coming down now. More people arrived throughout the evening and there seemed to be a nice and consistent number as well. Wine and champagne were in abundance and I spoke with quite a number of people I’d met during the signing the previous night.
Jean-Marc Lonjon introduced himself to me, and he is heading up the Paris gallery of Petits Papiers. I enjoyed speaking with him about the future of Petits Papiers and discussing other artists that they might bring to Paris and Belgium. The gallery here in Brussels is looking at moving into a new space by September of ’11.
I also met Xavier Lowenthal, artist and publisher whose work has also been shown at the gallery. After looking through my landscape paintings he insists I go to the Belgian coast to see the skies. He spoke of many painters who worked there, most notably James Ensor and René Magritte, both whose work I love, as well as many of the Flemish painters. He says I’ll never think about color the same way again. I’ll definitely need to go see this. I wish I had my paints with me! He identified very strongly with one of my paintings, insisting that it looked like his son, which it did. It was my painting “War Child” of my own son when he was quite young, sitting on a cluttered battlefield struggling to hold up a large doughboy helmet. This piece began as a demonstration piece while I was teaching at Virginia Commonwealth University.
Met Christophe Poot who gave me a couple of notecards with his work on them. One of a very confident pen drawing, the other of a mysterious monotype. Both are from books of his, I believe, and both beautiful pieces. He is currently working on a graphic novel about a pianist, though he didn’t elaborate on the content too much. Would love to see some of that work.
Spoke with two art students who quizzed me about various techniques used in some of the pieces.
Received many compliments in the work and it seems some sales were made. Had my picture taken with Alain Huberty owner of the gallery, in from of several of the paintings. They really did put on an incredible show.
After the show many of us went to dinner nearby at a place that excels in pasta dishes. Lots of interesting art talk with Carl Wykaert, Jean-Marc Lonjon, Alain Huberty, Xavier Lowenthal and Christoph Poot. Xavier gave me a wonderful history of the names of my children. Fascinating. And we discussed the differences in sequential art in America as opposed to Europe. Carl and I got into a discussion about morality. He’s working on a philosophical book and spoke of the nature of logical thinking and how if one takes certain logical though processes to their logical conclusion, they veer away from ethical or moral strictures, which surprised him. And the struggle is what to do at that point. Of course many continue blindly with the logical approach without seeming to register that the intent has been lost. Very interesting stuff, which I hope to continue with him tomorrow on the train to Paris.
The new space that Alain is going to move into sounds very nice and spacious. Three floors of gallery space will allow for the showing of more work and larger pieces. It’s also going to be in a “better” part of town which will, they hope, increase the number of customers. Quite a number of my works will be kept from this show when it comes down and taken to Paris so that more work can be represented there.
So, after much merriment and a wonderful dinner of wild boar, I walk back through the lightly falling snow to my hotel to get ready for Paris tomorrow.
More later…
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Still in the air – second flight
Sitting on the final flight to Brussels and we’re a couple of hours into it. “Eat, Pray, Love” is the in-flight movie and dinner has already been served. I’m now faced with what to write about on this trip, besides the small happenings and goings on with seeing/attending the show and all that.
In the last hours of getting stuff together before leaving, I was scrambling getting the final grades in for my students. I usually wait until the end of the semester to grade the material that my students produce. I like being able to see the work in its totality and see the growth of each individual student, rather than just grade along the way, plugging numbers into some gradebook.
What happens, though, is that students misplace some of their work, or they have just thrown it out, not liking it, or they’ve painted over an older piece to save money on supplies. I can implore them all I want not do these things, but it doesn’t change anything. So, what happens is that I’m left scrambling, trying to get students to turn work in and collar different people for things that I ultimately don’t get. And the grades HAVE to get turned in. (I do some grading along the way, so it’s not a total struggle. So maybe just grading along the way is ultimately better, at least as a time saver, to be sure.) That was my weekend, though a ray of sunlight in that weekend was time spent with my children, going to my son’s soccer game and catching a flick with my son and daughter. Monday was consumed with finishing up the grading, and all the while I’m needing to pack and print out things for the show.
I did get the grades in but found myself wallowing in packing and printing. I ran into a weirdness while trying to print this time around. Recently my copy of Photoshop, supplied by the school, gave out (I was still using CS3, by the way, as I was comfortable with it and hadn’t wanted to mess with any surprises that crop up with upgrading.). I rarely open Photoshop these days except to stitch multiple scans together or to compile a page of comic art. But I like printing from Photoshop, which has always given me the closest representation of my work on my printer. So they installed CS5 and I went about my business, thinking all was well. Except it wasn’t. For some reason I still don’t understand, Photoshop took it on itself to add a grey tone over everything I was printing. Very strange. Couldn’t figure it out, so I opened everything in Apple’s Preview application and it all printed just fine. Go figure.
Anyway, I didn’t sleep last night, instead packed and printed. Was able to get together a handful of very nice prints of some of the paintings and the poster to take along with me.
Luckily, my copies of the new Harvey Dunn book by Walt Reed came in. I’ve been waiting for this book for so many years! Walt mentioned it to me something like ten or fifteen years ago, and I’ve been patiently waiting ever since. I was hoping it would come in before I left so I could take a copy with me on this trip and recharge my batteries by scoping out some amazing paintings by Dunn. But by Monday I had given up hope on that happening, until the mailman bumped the door setting the package down. Yeehah! I couldn’t believe my good fortune.
Printing and packing had to wait while I took an hour or so to dig through the books. The wait has not been in vain. I knew it wouldn’t, anyway, as Walt’s a great writer and is always passionate about illustration and most certainly Dunn (I got to spend a great day with Walt a couple of years ago while we filmed him for our Harvey Dunn documentary, which is still in progress.).
And now, for the first time a new audience can see Dunn’s work in glorious full-color from new shots taken directly from the original paintings. There’s plenty of work here that I’ve never seen and that alone makes the book worthwhile. But even seeing paintings that have become old friends to me in these new separations is stunning. And the book gives a pretty thorough run through of the various avenues his art explored throughout his lifetime. And if the eye candy weren’t enough, I’m thrilled to get to read more about Dunn and his processes. For art students the inclusion of the complete “An Evening In the Classroom” makes the book worthwhile, in an of itself. There one can read notes taken by Dunn’s students from his critiques in painting class. A rare treat.
I hope to do a more thorough review of this book when I get home and can include nice shots of some of the work. A huge hats off to Flesk Publications for giving this book an understanding and sensitive home. The production is lavish and worth picking up for sure.
Back to Belgium:
I’ve been lucky enough in my career to have visited many different countries in the pursuit of my work. I’ve usually been a guest, having been invited to participate in various festivals and/or shows over the years. I’ve loved all the places I’ve been to, they all have multitudes of things to recommend them, not the least of which is the people themselves, all incredibly generous with their time and energies in welcoming me to their countries. They are rare moments, to be sure, and I soak up as much as I can while I’m there.
I’ve been to Belgium a few times and always enjoy myself immensely there. It holds a particular fascination for me because of my interest in the First World War. So much happened there during that conflict and one can spend incredible amounts of time visiting various battlefields and museums. There are still sections of trenches at are maintained, and ruins, and, of course, cemeteries. And when I visit these places they really do speak to me. I think of how much blood was spilled on these lands and the mind boggles.
My first trip to Flanders was, as now, in winter. And I remember taking a train to Dixmude to be picked up by a stranger to take me to the battlefields. My guide, whose name I unfortunately cannot remember, arrived with a bag busting with bottles of wonderful Belgian beer. The thing I noticed most of all while whizzing along in his car was how green the fields were even in winter. When I remarked on this my guide said his father told him it was because of all the blood in the land. Evocative and ironic. And I spent the day exploring a section of trench called the “Halls of Death”, or something like that. But before I was taken there, my guide informed me that he wanted to take me to a place that he thought I might like. This ended up being the cemetery where Peter Kollwitz is buried.
Peter Kollwitz was the son of Kathe Kollwitz the great German artist whose work has been a profound influence on me. My guide had no idea that I was so strongly influenced by Kathe Kollwitz and that this cemetery was one of the places I dreamed of visiting, in order to see the two statues that she sculpted for her lost son. The Grieving Parents is a powerful piece of work. A father and a mother (Kathe and her husband) on their knees bowed in grief before the stones marked with the names of the dead soldiers. So I stood in that place and thought of the years that she worked on those pieces as a tribute to all the fallen sons, working toward the day when she could see it installed on that piece of land before her son’s grave. And now, having children of my own, I shudder at the task that lay before her. Basically putting herself into a position to have to live with that grief every single day through her work, an overt reminder of what she lost. One would be unable to not grieve each day anyway, but to then add to that burden by trying to produce a piece that substantiated that grief, would stand as a reminder of that horror, is amazing to me. But one need only look at her work to know the depths of her sensitivity and struggle to give voice to others’ pain and strife.
More later…
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In Belgium
Wednesday, December 15th
Am now sitting in my room in the Metropole Hotel at the heart of the historical center of the European capital. This hotel, the only remaining 19th-century hotel, has loads of history behind it, it was the birthplace of the Black Russian cocktail in 1949. Most notably, the October 1927 Fifth Solvay International Conference on Electrons and Photons, where the world’s most notable physicists met to discuss the newly formulated quantum theory. The leading figures were Albert Einstein and Niels Bohr. Einstein, disenchanted with Heisenberg’s “Uncertainty Principle,” remarked “God does not play dice.” Bohr replied, “Einstein, stop telling God what to do.” (from Wikipedia)
Getting through customs was no problem, though it was tedious, and it took forever for the bags to be offloaded. Was picked up at the airport by Carl Wykaert and we came straight here. Unfortunately my room wasn’t ready so we left my bags with the concierge and went to see the gallery.
Petits Papiers has a very nice two-story space and they’ve framed and hung all the works in a well-organized way to show the works off to their best advantage.
Other than a couple of pages from a sequential story being out of order they did a great job. I’m looking forward to the opening! Built into the floor of this nice space is a line of hand impressions (the hands they draw with, I guess) of various artists and the various pens, pencils, etc. that they use in creating their work. I see the names of many wonderful artists I recognize represented there, all big names in sequential art. An interesting idea, to be sure.
After a pleasant cup of coffee with Alain Huberty, the owner of Petits Papiers, we next ran by Brüsel, one of the most amazing bookstores devoted to BD (bande dessinee – sequential narrative) I’ve ever been into. This is where the signing I did with Barron Storey was located during our show here in Brussels and Ghent in 2006. It’s an amazing place for anyone interested in BD. Albums, catalogues, limited edition prints and portfolios, original art, toys, you name it—it’s here. The staff is always incredibly helpful and gracious and Fred, the owner (I’ll supply his last name later) is incredibly knowledgeable about comics and art. I envy anyone who gets to frequent a store such as this. It’s the ultimate candy store for a fan of BD. This is where I’ll be having my first signing later today.
After touching base with Brüsel I asked Carl if we could go to the Tintin shop so I could look for gifts for my children. No problem! But while we are in the Grand Place we decide to run into an art exhibition of Hungarian Fauves. Brilliantly colored oil painting from a group of Hungarian painters who were influenced by the Fauves and who hung out in Gertrude Stein’s gatherings, etc. Some nice works. Interesting their use of holding lines in the work. And they certainly weren’t timid with the paint, ladling great gobs of scintillating colorful strokes onto the canvases.
Mmmmmm, paint!
This show was located in one of the many ornate edifices of the Guildhalls surrounding the large mall called the the Grand Place This is one of my favorite places to go in Brussels. I love the old gold-faced architecture reaching up into the sky. Just magnificent structures!
After some false trails we did get to the Tintin shop. Tintin, boy reporter with his faithful dog Snowy (Milou here in Belgium), is the literary/graphic brainchild of Hergé, Belgian cartoonist. Tintin is a cultural icon in Europe, and I grew up reading translations in my school library when I was a kid. I spent many long evenings reading Tintin to my son when he was younger, acting out all the characters voices. So there is a major soft spot for me with Tintin, and my son loves it all. Anyway, the shop is a fun one, albeit small. I picked up a few gifts and we headed out.
More later…
After a fine lunch of Belgian steak and frits (fries) we got back to my hotel and my room was ready. Carl would pick me up later. A quick bath and a change of clothes and it was time for my first signing at Brüsel.
The signing went really well. We were on the second floor of Brüsel in the prints and portfolios section. I think something like 25 to 30 people came for me to sign their copies of Enemy Ace (or Baron Rouge here). And something unique to Europe is they also bring sketchbooks for the artists to draw in as well. These books can range in quality from a mere sketchpad to a full-blown leather-bound book, and all are filled with some of the most beautiful sketches and drawings, sometimes paintings even. So the pressure is high to do something really nice in these books that are, quite literally, family heirlooms. These are not things that they will be selling but a treasure, really.
So I spent a good bit of time doing some very finished drawings in these beautiful books. Everyone wanted soldiers it seems, which isn’t surprising given the nature of the exhibition and my old novel. Unfortunately I didn’t take any photographs of the sketches, though Carl may have. If he has I’ll try and get some of them to post here later.
Update: found this on the web, posted by Juan, the owner.
The signing lasted several hours and was a lot of fun. Afterwards Carl and I went to dinner with Fred at a wonderful Belgian restaurant where we had some of that incredible Belgian beer, with steak and tiramisu for dessert.
Thursday December 16th
Slept well my first night in Belgium. Could barely keep my eyes open last night and finally just zoned totally out. Woke up around 4:30AM and wrote a bit of the material from earlier down. Sitting in my hotel room now for a little down time before the show tonight. Had three interviews this morning, one for the radio, one for a newspaper and one for an internet site. I’ll try and get more info on these later. The interviews went very well. Some interesting questions about my obsession with the First World War and other things. Europe, understandably, has memory of this war that is still fresh for most people, something which America does not have. So we discussed that a bit. Carl translated for me as he speaks French as well as Dutch.
Had my hand impression taken for the floor and am honored that I’ll be in such august company.
Had a nice lunch at a Vietnamese place, where we also conducted the final interview. The food was good, though spicy, and the conversation excellent. Went to a neat old bookseller and dug around a bit,then back to Brüsel where I indulged myself and bought some great BD. Snagged a couple of books for several of my students, though I won’t mention the names of the books so they’ll be a surprise. Fred surprised me with a large Claire Wendling book as a gift! The quality of this book is beautiful, and the work, of course, wonderful.
Now back at the hotel for a nap before the opening. Tomorrow we leave, I think, for Paris where I’ll be doing another signing. we may try to hit a Monet show that’s going on now, if we can get tickets. Either way we’ll hit the d’Orsay, my favorite museum in Paris.
Oh, found that one of my paintings got damaged in the shipping over from the States. My painting of the old man in bed was accidentally stapled all the way through the canvas and the panel. Ugh. But it was in the upper left corner of the panel, so it could have been worse.
More later…
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In the air
Okay, on the first leg of my flight. Will land in Atlanta and hop on my next flight to Brussels. They’re offering free Wi-FI on the flight for the holidays.
Pretty cool. More later!
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Belgium or Bust!
Okay. I’m finished packing my bags and will be heading out later today. I’ll try and keep adding to this blog as often as I have wi-fi. Stay tuned!
OH! And I owe Tyler Schatz one for the great design job he did on the poster for the show!
NEW PAINTING
This entry is a test of sorts. Well, this particular blog is a test, really. This will be where I post while on the road. I’ve been looking for blogging software to use on the iPad for when I travel, and won’t be carrying my MacBook Pro with me, unless I’m doing some serious photography and need the muscle. I wish Apple had iWeb for the iPad as that’s what I use on my main blog and I love it. So easy to use! Drag and drop, very visual. Just great.
This particular post is to see how an entry looks using BlogPress rather than the WordPress app which I found to be too buggy and hard to manage. It crashed frequently and, being a visual person, I didn’t like not really seeing what I was getting. This seems much easier than that already. So far so good.
So here’s a new painting I started the other night. It’s only the first sitting but I like where it is right now. This is painted from a set of shots I took while the students were shooting reference in class the other day. I’ll post an update when I’ve done another sitting on it.
And after posting this I find that this software is heads and tails above WordPress for the iPad. I’m now looking forward to posting while on the road with this application! If and when Apple releases iWeb for the iPad then I’ll blend this back into my main artblog.
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George Pratt
