#600: Throw on another log . . . the influence of Bugatti, con't

Throw on another log is a commentary and opinion about art
and this blog is a continuation of the previous post . . . 

Please scroll back to blog # 599,  posted Jan. 11, 2015.

I welcome your comments and observations.

Since the last post,  I've received several comments and inquiries from
former students and others about the influence of Bugatti regarding my
 work.  Years ago, I purchased the big Bugatti book - cover shown at right -
and while it had a definite presence in the studio, it was not a
"go-to" source of reference during the early, formative years . . .

 There's no clay on the pages which attests to the fact.

 The trip to Paris last month has directed my attention to this incomparable sculptor of animals.  I was mesmerized by his plasters at the Musee d'Orsay,  (shown in the previous post),  and spent hours in the Petit Palais,
(also shown),  with his sculptures . . . captivated and influenced.

Bugatti died young - he committed suicide at age 31 - and during his short life he created over 300 sculptures. 

 He explored many different methods and styles while creating a multitude of masterpieces . . . each one a classic observation of the animal . . . in gesture and in spirit.  Every sculptor would be well-served to study his work.   

While I can't say my work has been grounded and influenced by Bugatti over the years, since returning from Paris,

 I'm haunted by the memory of experiencing his sculpture in the museums.  This morning, I created a study of a walking panther - shown below -  that would not have been on my radar to do without being under his spell.  

Every artist is the sum total of their interests, experience, knowledge, and feelings.

Artists and their styles evolve naturally while searching various possibilities of design.

Style, like feelings, cannot be forced.

Shown below, are images of Bugatti's cats.  Note the various surface treatments and styles.

I'm concluding each art blog about our trip to Paris last month with a glimpse of life in the beautiful city.

Below, the morning sun streams through the window of the upper level cafe as Trish and i enjoy coffee,
a baguette, and cheese at the Musee d'Orsay . . . an enlightening day, experiencing Bugatti.

Also shown is the incredible Sorolla painting that is close to the cafe.

Go to the BLOG INDEX on the right for more information. 

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#536 Throw on another log: Style, loose, technique - CUSS your work!

Throw on another log is a commentary and opinion about art.
It is directed toward students, artists, collectors, 

galleries, museums, and those interested in the arts.
I welcome your comments on this blog or on Facebook.

I have taught workshops for over 25 years and am routinely
informed by workshop participants that they are taking the workshop
because they want to loosen up their style and technique.

Regarding style:  Artists develop individual ways of seeing their subject.
The imprint of the artist's personality -  the manner in which their subject is presented - is the artist's style.  Furthermore, style manifests itself as the individual artist discovers what interests them most about their subject.

"Loose" technique is the ability to give an accurate impression in clay (or paint) without precise attention to detail.

What the artist may perceive as a "loose" technique can actually be sloppy work that is not understood.
Figurative work - both animals and the human figure - require an understanding of the subject's anatomy.
A passage applied to the canvas or sculpture armature in a spontaneous manner must have understood meaning.
The precursor to figurative art is understood anatomy, proportion, drawing, organization, and waypoints.

Painters paint what they see and sculptors sculpt what they know.
The more that is known, the more the artist can edit and eliminate.
In other words . . . CUSS your work . . . an acronym for:  
Clarify, Unify,  Solidify,  Simplify!  

To learn more about the subjects in this blog go to the links below.

For a complete list of  the blog subjects go to the Index Page and
type the subject in the Search This Blog link on right.

#357 Throw on another log: "Style"

A figurative sculptor must know the structure and anatomy of the subject portrayed.  The subject, whether quadruped, bird, human, etc, is the design source.  Shape, form, mass, design, pattern, balance, line, contour, texture are all components of the sculptural vocabulary.

I am routinely asked while teaching workshops: "How does the sculptor have their work recognized and become successful when so many sculptors seem to be doing the same thing."
In a word, the answer is STYLE.  A sculptor's personal STYLE will emerge after structure and anatomy is so completely understood that artistic possibilities are communicated and the subject is not portrayed as a specimen.  The sculptor cannot copyright a pose, but can copyright treatment and STYLE.

When you walk into a museum, you recognize Van Gogh, Rodin, Rungius, Turner, Bugatti, Sargent, etc, from across the room.  The same is true today of popular and successful sculptors and painters . . . their STYLE is recognized.
A friend of mine, the late and great wildlife painter, Bob Kuhn, once said:  "Go to as many museums, art shows,
and galleries as you can and see what everyone else is doing . . . then do something different".

Hay Bay 19"H 25"W 

Copyright, Sandy Scott