The following passage by E.H. Gombrich was a revelation to me, maybe an epiphany. I had been looking for a way to break out of my old habits when I found this. It became the central idea of a “Self-forgiveness Theory.” It says to keep trying, modifying, and correcting -- that the eraser is the tool of more expressive realism. In almost mystical terms: trying to create perfection is impossible, but forgiving yourself and your drawings for being imperfect and constantly refining your vision is possible.

“Seen in this light, that dry psychological formula of schema and correction can tell us a good deal, not only about the essential unity between medieval and post-medieval art, but also of their vital difference. To the Middle Ages, the schema is the image, to the post-medieval artist, it is the starting point for corrections, adjustments, adaptations, the means to probe reality and to wrestle with the particular. The hallmark of the medieval artist is the firm line that testifies to the mastery of his craft. That of the post-medieval artist is not facility, which he avoids, but constant alertness. Its symptom is the sketch, or rather the many sketches which precede the finished work and, for all the skill of hand and eye of the master, a constant readiness to learn, to make and match and remake till the portrayal ceases to be a second hand formula and reflects the unique and unrepeatable experience the artist wishes to seize and hold.”

Art & Illusion: A study in Psychology of Pictorial Representation, Page 173

-- E. H. Gombrich

Sunday, November 23, 2014

Brookgreen Gardens Project

The Brookgreen Gardens Project is a continuing series of paintings and drawings that celebrate one of South Carolina's most beautiful attractions. This collection of work has accumulated over a few decades and reflects my different artistic interests. The Gardens are a special place to me, since I've been visiting them since the late 1950s, having spent several childhood years near there. Now that I have assembled it together, I hope to add many more pieces to this series in the near future. 

I am trying to add the names of the sculpture, thanks to Patricia Blackstock's identifications at The site is a good source of Statue Identifications.


Seaweed Fountain by Beatrice Fenton

Narcissus by Adolph Alexander Weinman
(Now that I've posted this photo, I am trying to convince myself and my mojo to do some more work on this watercolor. I am happy with the dappled, fawn but think the background could be darker.  The risk is the hard, surface sized paper doesnt really take heavy, rich darks. I'm going to have to be sensitive to the paper as I modify the background. -- December 27, 2014.

Joy by Karl Heinrich Gruppe

Boy and Frog by Elsie Ward Hering

Don Quixote by Anna Hyatt Huntingon, Sancho Panza by Carl Jennowein

Nymph and Fawn by Carl Jennewein

Two Kids by Oronzio Maldarelli

Seaweed Fountain byBeatrice Fenton

Sea Urchin by Edward Berge

Children with Gazelle by Anthony de Francisci

Little Lady of the Sea by Earnest Bruce Haswell

Fighting Stallions by Anna Hyatt Huntington

This piece, The Torchbearers by Anna Hyatt Hunnington,  is in front of the Chrysler Museum in Norfolk, Virginia. 



 Faun by Leo Lentelli


Wood Nynphs Series by Henry Hering

Coming: Child of Peace by Edward Fenno Hoffman III


Flute Boy by Wheeler Williams

Laughing Boy and Goat by Attilio Piccirilli

Sylvan by Chester Beach

Dionysus by Edward Francis McCartan

Dancing Goat by Albert Laessle

Pegasus by Augustus Saint-Gaudens

Coming: Faun by Leo Lentelli

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