In the mid-Sixties, twenty year old German countess Vera Gottliebe Anna Gräfin von Lehndorff-Steinort was transformed into the now legendary model known as Veruschka. Photographer Richard Avedon, who I recall as that era’s Annie Leibovitz [as in “you know you’ve arrived if you’re posing for…”] produced many of his fashion iconic images with Veruschka. The stunning photo below was taken during Avedon’s tenure at Vogue.
Richard Avedon photo of Veruschka, 1967
My own take on that photo became a kind of neon negative, done in gouache and watercolor:
For the sartorial minded September is the month that releases brick-heavy issues from Vogue, Harper’s Bazaar and Elle. Furthermore, these September magazines are usually abundant with pages and pages for my own inspiration. But what is going on for 2018?! All I could see was a deluge of extremes. Puffy coats on steroids. Gym wear, ala haute couture. And, really?! A revival bringing the worst of the Eighties.
Yet, Marie Claire’s September offered some redemption. And it came by way of an editorial [no kidding!] titled “State of Grace”. Photographer Robert Nethery uses an exquisite flood of light in his work, so that model Tasha Tilberg appears beautifully near-translucent.
In posting this painting, I fear becoming known as “That Tim Walker-crazed painter”. Not only that, but Tim Walker – or his agent, anyway – may not be all that keen in my depictions of his inspired settings and/or concepts behind his photo shoots. Be what may: I joined two of his photos together here. While his bride appeared in a 2016 issue of “British Vogue”, the model in black originated in a 2009 issue of “Italia Vogue”. And I could not resist the contrast!
To Have and To Hold
First, an apology to adorable model Hyunji Shin. When working from Terry Tsiolis’ photo [in an editorial from the July 2018 issue of Elle] my foremost intent was to depict this incredible outline of the Marc Jacobs gown; I hardly did justice in Hyunji’s face! Yet, painting wet on wet is still rather foreign to me. One has to relinquish a lot of control – and those who know me will understand…
Hyunji in Marc
There are fashion magazine clippings which I have kept in a binder over the years… [And I do try to keep impulsive clipping at a reasonable binder management level. To “try”, being relative.] My most recent muse came by way of W Magazine and, more to the point, photographer Willy Vanderperre. His photograph offered me two elements I could not resist: lovely hand gesturing and challenging shadows. And I title this as Shear over Sheer because most challenging for me was in knowing when and what to omit.
Shear Blue Gloves
I suppose it was inevitable. The time of arrival – when I would no longer have a mutually exclusive relationship with my own works. While I enjoy the kindness and support of my web base, hand rendered art really needs to be exposed to natural light. All of this to say, my own is now up at the Green Marble Coffee House for the entire month. And I would love for you to have a look!
September Show at Green Marble
In this aerialist depiction, the question of “More? Or, less?” made me buggers. This piece, measuring 8.5″ x 9.5″, was painted with watered Gelatos – on some pretty pricey paper. While rather happy with it, my greater penchant to move on to “the next” ultimately won.
Aerialist with Rings
It was last summer when I became acquainted with the women behind Om-Fly Circus. They are a remarkable group – watching them at work on a swing or with silks has been such a revelation for me. Not to mention inspiring…
“Om Aerialists” measures 8″ x 10″ and was painted with a Gelatos and water mix.
The gown. That hair! Solange, that is. And with such an already musical name like that, why call this anything else? The source of it all can be seen on Elle.
I used some metallic watercolors for this 9″ x 12″ painting – a size which exceeds my scanning bed. The glint of the metallic gets lost on a monitor but I’m happy enough with the outcome here.
I went crazy for some coiled hair. The coiled hair and the model’s silhouettes. Both, I found in Chanel’s Spring 2017 campaign. [I found out later that the model’s name appears to be Arizona Muse and she was photographed by Karl Lagerfeld.] As for calling this piece “Tarmac”, all I can say on that is that it felt like the right fit.
It was in February 2016 when I first announced – online, here – that I was devoting myself to the traditional mediums with my art. Although, originally the idea had been to pursue combining paintings with digital imagery. [See: Brushwork] Which didn’t actually pan out, exactly.
Anyway, rather than include this piece in the Diaphanous collection, I feel it speaks more of the Arch series due to the mirroring, et al. Painted with watered Gelatos, it measures 9 ¾” x 6”. Is this dawn and dusk at an intersection?
In this painting, I have photographer Jorge Badura to thank. Harper’s Bazaar, in their November 2016 issue, called in Badura to photograph an editorial that had featured a group of fantastic, skyscraper scaling, aerialists who took to the skies while dressed in haut coutures.
Hence the title: Diaphanous Scaling [“Gelato” painting, 14″ x 10″]