Our group was made up of five students and one teacher, Eva Bovenzi. John, Eva’s husband came too. We met 40 miles outside of Venice, in Vittorio Veneto, Treviso. We stayed at Palazzo Galletti. Built in the 14th century, the little palazzo was on a quiet cobblestone street in Serravalle, the ancient part of town. We worked for 8 days in Alma Ortolan’s downstairs studio. Besides restoring frescoes, she gives her own workshops in fresco technique. After breakfast, our group would meet for an image presentation. Then, we went off in different directions to sketch. After lunch we worked in the studio, which was followed by a critique and dinner. My small suitcase on rollers, was filled with art supplies. I packed two 12” x 16” boards which were used as support for presized canvas that wrapped around the board and was tacked with artist’s tape. I took sketchpads, drawing materials, tubes of acrylic paint, brushes, a palette, rags, water container and a backpack to carry my art supplies when I went out sketching. Completed rolled paintings fit diagonally into my suitcase when it was time to pack and go home.
Taking watersoluble crayons and sketchpads, Arina and I walked through the quiet old town to sit in Chiesa di S. Giovanni Battista. Choosing the statue of Madonna del Carmine I sketched for more than an hour while listening to my friend happily humming as she sketched sunlight touching a column.
The next morning, I walked up behind the houses into the trees. While I was sitting on the ground sketching, one of the locals walked into my view. Stooping down he filled his straw basket with raw walnuts. His black and white dog kept running up to me bringing me a stick to throw. Thinking of Cezanne and loving the background color coming from behind the tree I walked back to the studio.
After a few well-intentioned strokes my new painting took on a mind of it’s own.
I had seven days to create a book. Here you followed a work in progress. We were going to see if in a week I had a finished product. for Sketchbook Project 2013. If not – zilch. Today is the day I must have it in the mail going to Brooklyn, New York. The book isn’t finished , but I wouldn’t say I have zilch. There are some interesting pairings happening. I have the beginning of an Artists’ Book. Right now it is a traditional 7″ x 10″ codex book. But the opportunities for change are endless. Check out this website about Artists’ Books. http://www.philobiblon.com/isitabook/bookarts/index.html
The book was going to be titled, Chairs, but now I’m thinking the title will be Sit. I’ll probably add some text, maybe just a few adverbs thrown in. The readers will be the ones to interpret the book’s contents. It may be a one-of-a-kind Artists’ Book or a small edition of 30. The structure of the book will probably stay the same. Maybe I’ll make a small edition of Sit just xeroxing the contents, binding it or stapling it together in order to sell it on Amazon.com for a very reasonable price.
I need to change printer orientation of images in these two piles.
The small image of the cafe in Rome is too small.
This is how I am going about figuring out where to put my images in the book. I’ve watched that big blue chair go through many phases. People climb up in the chair for pictures, but sometimes it is ribboned off, probably a liability issue for the owners of the chair.
Spread out on the floor are lots of 7 x 10 inch pieces of paper which represent a full open page of the book. This image, taken in Florence is cropped to 7″ x 10″. When I stack a bunch of them on top of each other then fold the stack and bind it, I’ll have a 7″ x 5″ book. I’ll see only half of the picture of tables at the cafe. Now I need to add a picture to the other side. The couple having a glass of wine is a photo of a 5 x 4 foot painting of mine that was sold at the Napa Valley Wine Auction a few years ago. The colors and theme seem to go with it. I’ll probably pair these together.