Category Archives: art criticism

Thinking About Thinking with a Thought-free Thinker

Yes, today is another in a long, tepid series of Art-Day posts, but it is also about metacognitive thinking. Specifically thinking about thinking using pictures to think with. (Maybe that title should say, “Free-Thought Thinker” rather than, “Thought-Free.”)

To start with, what does a person actually see when they close their eyes? My brain does not color everything on the inside of my eyelids black. Even in the dark of night with no nightlight so that nothing shines through my eyelids, my brain interprets the dark as shapes, patterns, and colors. Hence the inspiration for this picture.

But my brain is never satisfied with raw shapes, colors, and patterns. It has to interpret ideas into them. The mass of yellow and black resolves into a butterfly, or a sunflower, or an etude by J.S. Bach. The pink mass becomes a blond girl playing the music in my head…. a girl from piano-lesson days in the early 70’s. But naked. The way I always thought about her while sitting and waiting for my piano lesson and listening to hers. How else does a boy think about a pretty girl when he is fourteen?

And as the items in the picture take shape, they do also begin to tell a story. Who is this Dr. Seabreez? Is he a shaman of the Republic of Lakotah People? Is he a white man? Seabreez is not a Native American name. The naked boy by the tent flap has a crutch, and there is a mouse silhouetted nearby. Does that make him a medical doctor? A veterinarian? A professor of Native-American Studies? The mind begins to piece together a script.

But here we see that Dr. Seabreez has set up a new practice in Japan. Again the boy near the door has a crutch and there is a silhouetted mouse near him. But now the other boy has horns on his forehead. Why horns? And pointed ears? Is he a Doctor of Magic and Wizardry? Demonology perhaps? And what is an anthropomorphized panda doing in Japan? That’s clearly a Japanese castle in the distance. The collar Kanji is definitely Japanese in character.

And now there are horns again. Three of them by my count. And another naked character. But a Grecian background. The mind is here making connections between the pictures, noticing patterns. Appreciating colors. And turning every detail over in the mind’s eye, evaluating and analyzing.

Art, especially on Saturdays, totally engages the mind. That is one of the reasons we keep art around to look at again and again. It is the purpose of art to make us see something. And not just once, superfluously. We must see it in depth, looking beyond the surface.

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Filed under art criticism, artwork, humor, irony, magic, Paffooney

The World is a B-Movie

Yes, I am saying the world I live in is a low-budget commercial movie made without literary or artistic pretensions. You know, the kind where movie makers learn their craft, taking big risks with smaller consequences, and making the world of their picture reflect their heart rather than the producer’s lust for money.

Mostly what I am talking about are the movies I remember from late-night Saturday TV in black and white (regardless of whether or not the movie was made in Technicolor) and the less-risky as well as more-likely-good Saturday matinees on Channel 3. Movies made in the 1950s, 1960s, and early 1970s. They were perfect, of course, for the forbidden Midnight Movie on the show called Gravesend Manor. I had to sneak downstairs to watch it on Saturday nights with the volume turned way down low. (Not that Mom and Dad didn’t know. Well, maybe they didn’t know how many of those I watched completely naked… maybe.)

I watched this one when I was twelve, late night on an October Saturday. I had a bed-sheet with me to pull over my head at the scariest parts. Frankenstein was a crashed astronaut brought back to life by the magic of space radiation. He was uglier than sin, but still the hero of the movie, saving the Earth from invading guys in gorilla suits and scary masks (none of which looked like the movie poster.)

This one, starring James Whitmore, a really good B-Movie actor, was about giant ants coming up from the sewers and the underground to eat the city.

I would end up watching it again twenty years later when I was wearing clothes and not alone in the dark house lit only by a black-and-white TV screen.

I realized on the second viewing that it was actually a pretty good movie in spite of cheesy special effects. And I realized too that I had learned from James Whitmore’s hero character that, in times of crisis, you have to run towards the trouble rather than away from it, a thing that I used several times in my teaching career with fights and tornadoes and even rattlesnakes visiting the school campus looking to eat a seventh-grader or something (though it was a bad idea for the snake even if it had been successful.)

This one, of course, taught me that monsters liked to carry off pretty girls in bikinis. And not just on the poster, either. But it was the hero that got the girl, not the monster. This movie taught me that it sucks to be the monster. Though it also taught me that it was a good movie to take your pajamas off for and watch naked when you are thirteen.

But not all B-movies had to be watched late night on Saturdays. This movie was one of the first ones that I got to go to the movie theater to see by myself. (My sisters and little brother were still too young and got nightmares too easily to see such a movie.) It came out when I was in my teens and Mom and Dad began thinking of me as an adult once… or even possibly twice in a month.

And not all B-movies were monster movies, gangster movies, and westerns. Some, like a lot of Danny Kaye’s movies, were movies my Dad and my grandparents were more than happy to watch with me. I saw this one in both black-and-white and color. And I learned from this that it was okay to take advantage of happy accidents, like a case of mistaken identity, and using your wits, your creative singing ability, and your inexplicable good luck to win the day for everybody but the bad guys armed only with your good sense of humor.

And some of the best movies I have ever seen, judging by what I learned about movies as literature from Professor Loring Silet in his Modern Film Class at Iowa State University, are by their nature B-movies.

I am using movie posters in this blog post only from movies I have personally seen. (And I admit that not all of them are strictly “good” movies according to Professor Silet, but I like them all.)

Feel free to tell me in the comments if you have seen any of these movies yourself. I am open to all opinions, comments, and confessions.

This one is based on Shakespeare’s The Tempest.
I saw this one in college. You had to be 18 at the time to even buy a ticket.
I actually think that this is one of the best movies ever made. It will always make my own personal top-ten list.

I live in a B-movie world. The production values around me are not the top-dollar ones. But the stories are entertaining. The real-life heroes still run towards the problem. And it still sucks to be the monster. But it has always been worth the price of the ticket. And during my time on Earth here, even in 2020, I plan on staying till the end of the picture. I go nowhere until I see the Best Boy’s name in the end credits. And maybe not even then.

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Filed under art criticism, heroes, humor, monsters, movie review, strange and wonderful ideas about life, TV as literature, TV review

The World is a B-Movie

Yes, I am saying the world I live in is a low-budget commercial movie made without literary or artistic pretensions. You know, the kind where movie makers learn their craft, taking big risks with smaller consequences, and making the world of their picture reflect their heart rather than the producer’s lust for money.

Mostly what I am talking about are the movies I remember from late-night Saturday TV in black and white (regardless of whether or not the movie was made in Technicolor) and the less-risky as well as more-likely-good Saturday matinees on Channel 3. Movies made in the 1950s, 1960s, and early 1970s. They were perfect, of course, for the forbidden Midnight Movie on the show called Gravesend Manor. I had to sneak downstairs to watch it on Saturday nights with the volume turned way down low. (Not that Mom and Dad didn’t know. Well, maybe they didn’t know how many of those I watched completely naked… maybe.)

I watched this one when I was twelve, late night on an October Saturday. I had a bed-sheet with me to pull over my head at the scariest parts. Frankenstein was a crashed astronaut brought back to life by the magic of space radiation. He was uglier than sin, but still the hero of the movie, saving the Earth from invading guys in gorilla suits and scary masks (none of which looked like the movie poster.)

This one, starring James Whitmore, a really good B-Movie actor, was about giant ants coming up from the sewers and the underground to eat the city.

I would end up watching it again twenty years later when I was wearing clothes and not alone in the dark house lit only by a black-and-white TV screen.

I realized on the second viewing that it was actually a pretty good movie in spite of cheesy special effects. And I realized too that I had learned from James Whitmore’s hero character that, in times of crisis, you have to run towards the trouble rather than away from it, a thing that I used several times in my teaching career with fights and tornadoes and even rattlesnakes visiting the school campus looking to eat a seventh-grader or something (though it was a bad idea for the snake even if it had been successful.)

This one, of course, taught me that monsters liked to carry off pretty girls in bikinis. And not just on the poster, either. But it was the hero that got the girl, not the monster. This movie taught me that it sucks to be the monster. Though it also taught me that it was a good movie to take your pajamas off for and watch naked when you are thirteen.

But not all B-movies had to be watched late night on Saturdays. This movie was one of the first ones that I got to go to the movie theater to see by myself. (My sisters and little brother were still too young and got nightmares too easily to see such a movie.) It came out when I was in my teens and Mom and Dad began thinking of me as an adult once… or even possibly twice in a month.

And not all B-movies were monster movies, gangster movies, and westerns. Some, like a lot of Danny Kaye’s movies, were movies my Dad and my grandparents were more than happy to watch with me. I saw this one in both black-and-white and color. And I learned from this that it was okay to take advantage of happy accidents, like a case of mistaken identity, and using your wits, your creative singing ability, and your inexplicable good luck to win the day for everybody but the bad guys armed only with your good sense of humor.

And some of the best movies I have ever seen, judging by what I learned about movies as literature from Professor Loring Silet in his Modern Film Class at Iowa State University, are by their nature B-movies.

I am using movie posters in this blog post only from movies I have personally seen. (And I admit that not all of them are strictly “good” movies according to Professor Silet, but I like them all.)

Feel free to tell me in the comments if you have seen any of these movies yourself. I am open to all opinions, comments, and confessions.

This one is based on Shakespeare’s The Tempest.
I saw this one in college. You had to be 18 at the time to even buy a ticket.
I actually think that this is one of the best movies ever made. It will always make my own personal top-ten list.

I live in a B-movie world. The production values around me are not the top-dollar ones. But the stories are entertaining. The real-life heroes still run towards the problem. And it still sucks to be the monster. But it has always been worth the price of the ticket. And during my time on Earth here, even in 2020, I plan on staying till the end of the picture. I go nowhere until I see the Best Boy’s name in the end credits. And maybe not even then.

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Filed under art criticism, heroes, humor, monsters, movie review, strange and wonderful ideas about life, TV as literature, TV review

Homely Art – Part One – Thomas Kinkade

Fantasia  These images can be found at http://thomaskinkade.com/

I honestly have a thing for artists that critics hate and common folk like my parents and grandparents loved.  Norman Rockwell is a bit like that.  He enjoyed commercial success as a magazine illustrator.  That is about as far from avant garde art as you can get.  But what can I say?  I don’t call myself an artist.  I am a cartoonist and all around goofball.  I don’t do serious art.  So the questions surrounding Thomas Kinkade bounce off my tough old non-critical hide like bullets off the orphan of Krypton.  I love his pictures for their gaudy splashes of color, his way with depicting puddles and water of all sorts (splashes of splashes), and his rustic homes and landscapes of another era.  This is a man who does lovely calendar art and jigsaw puzzle art.  He is roundly criticized for factory production of “original” oil paintings which are actually a base he created and made a print of painted over by an “assistant” artist or apprentice.  But I don’t care .  I like it.  And you used to be able to see his originals without going to museums, in art stores at the shopping mall.  He is unfortunately dead now.  For most great artists, that makes their work more valuable and more precious.  Kinkade’s art hangs in so many homes around the country already that his fame has probably already reached its peak.  Look at these works that he did for Hallmark and Disney and various other mass-market retail outlets.  I dare you not to like it.

Cinderella-Wishes-Upon-A-Dream thomas-kinkade-signed-and-numbered-limited-edition-print-and-hand-embellished-canvas-the-night-before-christmas-1 kinkade-2010-bambis-first-year-1st-art-disney-thomas Teacup Cottage kinkade-2012-lg-little-mermaid-disney-art ladyandthetramp thomas-kinkade-hometown-morning-19676

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Filed under art criticism, oil painting, Thomas Kinkade

Homely Art – Part Two – Paul Detlefsen

Detlefsen-Swimming_Hole

Back in about 1968 my Grandma Beyer was seriously scandalized by an artist named Paul Detlefsen.  Detlefsen did a lot of covers for the “Ideals Magazine” that Grandma always had on her coffee tables.  He scandalized her by putting a painting on the cover that showed a young boy taking his pants off, the rear view only, so he could go skinny dipping with a group of naked boys.  Truthfully the picture shown above is by Detelfsen, but it is not the one that offended her.  I have discovered that this painter of old-timey things like blacksmith shops and one-room school houses has painted at least four different versions of “the Old Swimmin’ Hole”.  And Grandma was easily scandalized when we were kids.  She was a very conservative woman who loved Ronald Reagan and his politics most severely and thought that Richard Nixon was a leftist radical.  She didn’t like for people to be naked, except for bath time, and maybe not even then.  She is one of the main reasons, along with this painter whom she adored, that I came to learn later in life that “naked is funny”.horseandbuggydays-print  http://www.freeplaypost.com/PaulDetlefsen_VintageArtPrint_A.htm

Grandma Beyer also seriously loved puzzles, and besides “Ideals” covers, Paul Detlefsen did a beaucoup of jigsaw puzzles. (Beaucoup means a lot in Texican, I tend to think in Iowegian and talk in Texican and completely forget about the need to translate for those people who don’t know those two foreign tongues)   One of the puzzles we spent hours working on was “Horse and Buggy Days” that I pictured here.  They were the kind of puzzle paintings where every boy was Tom Sawyer and every girl was Becky Thatcher.  And there were a lot of them.  Here is another;

detlefsen

http://www.bigredtoybox.com/cgi-bin/toynfo.pl?detlefsenindex

Grandma had this in puzzle form also.  We put the puzzle together, glued it to tag board, and framed it.  It has hung on the wall in a Grandparent’s house, first Grandma Beyer’s and then Grandma Aldrich’s, since the early 1970’s.  My own parents now live in Grandma Aldrich’s house, and that puzzle-painting may be hanging in an upstairs bedroom to this very day.  Detlefsen is not known as a great artist.  He was a humble painter who painted backdrops for films for over 20 years.  In the 1950’s he switched gears and started doing lithographs that were turned into calendars, jigsaw puzzles, laminated table mats, playing cards, and reproductions you could buy in the Ben Franklin Dime Store in Belmond, Iowa and hang on your back porch at home.  I believe I saw his paintings in all these forms in one place or another.  According to Wikipedia (I know, research, right?) “In 1969, UPI estimated that his artwork had been seen by 80 per cent of all Americans.”  That is pretty dang good for a humble painter, better numbers than Pablo Picasso ever saw.  Let me share a few more of his works, and see if you recognize any of these;

db_Paul_Detlefsen_Covered_Bridge1 b01e8afaadde Artist Paul Detlefsen PaulDetlefsen_VintageArtPrint_B11 il_fullxfull.285794883

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Filed under art criticism, art my Grandpa loved, artwork, homely art, oil painting

O Mio Babbino Caro

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This beautiful song, an operatic aria by Puccini, is from the comic opera Gianni Schicchi.  But, more important than that is what the song actually means in context.

In the opera, Gianni Schicchi is a con man intent on swindling a family out of their inheritance and knowing all along that he will be destined to go to hell when he dies.  The family is gathered for the reading of the rich man’s will, which is, because this is a comic opera, lost for the time being.  Their main concern is for the money, which rumor has it has all been willed to the church.  But one among them is actually worthy of inheriting the money, Rinuccio the son of the rich man’s cousin.  And, as luck would have it, as it always does in comedies, Rinuccio is the one who, during the manic and desperate search for the will, actually finds it.  And assuming he comes out well in the will, he secures a promise from his mother that if he inherits money, he can marry Schicchi’s beautiful daughter Laurretta whom he truly loves.

But when he reads the will, he is devastated.  The money all goes to a monastery.  He begs Schicchi to help him convince the family that he should marry Laurretta anyway.  This Gianni Schicchi tries and finds it harder than turning water into wine.  So Schicchi is about to give up when Lauretta finally speaks up for herself through the song,

O Mio Babbino Caro (My Beloved Father)

At this point Schicchi is moved by the beautiful song and even more beautiful love his daughter has surprised him with.  He not only agrees to help, but executes a bizarre plan, hiding the rich man’s body and pretending to be him come back to life to rewrite the will.  Now the will favors Rinuccio, and over the protests of the family, he inherits the money and marries his true love, Schicchi’s daughter.  The opera ends with Schicchi singing his case to the audience, telling them in song that going to hell is worth it to aid true love.

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And this, then, is the truth of O Mio Babbino Caro.

Love, expressed through the surprise of hidden talent suddenly revealed, is the most persuasive argument there is.

Whether it is the love in the music suddenly discovered in the overwhelming voice of a little girl like Jackie Evancho or Amira Willighagen, or the late great Maria Callas who also sang the role, or even the singer of Puccini’s greatest work who is yet to perform it and make silly old men like me weep for beauty’s sake, the song is the most persuasive argument there is in favor of true love.

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That is a thing I desperately want to capture in the novel I am writing now, Sing Sad Songs.  Love expressed in music.  Love that reverses loss.  Love that heals all things.  And Love that moves all people.  The love that is masterfully sung in O Mio Babbino Caro.

Francois spotlight

That book is now published and available on Amazon.

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Filed under art criticism, classical music, daughters, humor, music, Paffooney, strange and wonderful ideas about life

The World is a B-Movie

Yes, I am saying the world I live in is a low-budget commercial movie made without literary or artistic pretensions. You know, the kind where movie makers learn their craft, taking big risks with smaller consequences, and making the world of their picture reflect their heart rather than the producer’s lust for money.

Mostly what I am talking about are the movies I remember from late-night Saturday TV in black and white (regardless of whether or not the movie was made in Technicolor) and the less-risky as well as more-likely-good Saturday matinees on Channel 3. Movies made in the 1950s, 1960s, and early 1970s. They were perfect, of course, for the forbidden Midnight Movie on the show called Gravesend Manor. I had to sneak downstairs to watch it on Saturday nights with the volume turned way down low. (Not that Mom and Dad didn’t know. Well, maybe they didn’t know how many of those I watched completely naked… maybe.)

I watched this one when I was twelve, late night on an October Saturday. I had a bed-sheet with me to pull over my head at the scariest parts. Frankenstein was a crashed astronaut brought back to life by the magic of space radiation. He was uglier than sin, but still the hero of the movie, saving the Earth from invading guys in gorilla suits and scary masks (none of which looked like the movie poster.)

This one, starring James Whitmore, a really good B-Movie actor, was about giant ants coming up from the sewers and the underground to eat the city.

I would end up watching it again twenty years later when I was wearing clothes and not alone in the dark house lit only by a black-and-white TV screen.

I realized on the second viewing that it was actually a pretty good movie in spite of cheesy special effects. And I realized too that I had learned from James Whitmore’s hero character that, in times of crisis, you have to run towards the trouble rather than away from it, a thing that I used several times in my teaching career with fights and tornadoes and even rattlesnakes visiting the school campus looking to eat a seventh-grader or something (though it was a bad idea for the snake even if it had been successful.)

This one, of course, taught me that monsters liked to carry off pretty girls in bikinis. And not just on the poster, either. But it was the hero that got the girl, not the monster. This movie taught me that it sucks to be the monster. Though it also taught me that it was a good movie to take your pajamas off for and watch naked when you are thirteen.

But not all B-movies had to be watched late night on Saturdays. This movie was one of the first ones that I got to go to the movie theater to see by myself. (My sisters and little brother were still too young and got nightmares too easily to see such a movie.) It came out when I was in my teens and Mom and Dad began thinking of me as an adult once… or even possibly twice in a month.

And not all B-movies were monster movies, gangster movies, and westerns. Some, like a lot of Danny Kaye’s movies, were movies my Dad and my grandparents were more than happy to watch with me. I saw this one in both black-and-white and color. And I learned from this that it was okay to take advantage of happy accidents, like a case of mistaken identity, and using your wits, your creative singing ability, and your inexplicable good luck to win the day for everybody but the bad guys armed only with your good sense of humor.

And some of the best movies I have ever seen, judging by what I learned about movies as literature from Professor Loring Silet in his Modern Film Class at Iowa State University, are by their nature B-movies.

I am using movie posters in this blog post only from movies I have personally seen. (And I admit that not all of them are strictly “good” movies according to Professor Silet, but I like them all.)

Feel free to tell me in the comments if you have seen any of these movies yourself. I am open to all opinions, comments, and confessions.

This one is based on Shakespeare’s The Tempest.
I saw this one in college. You had to be 18 at the time to even buy a ticket.
I actually think that this is one of the best movies ever made. It will always make my own personal top-ten list.

I live in a B-movie world. The production values around me are not the top-dollar ones. But the stories are entertaining. The real-life heroes still run towards the problem. And it still sucks to be the monster. But it has always been worth the price of the ticket. And during my time on Earth here, even in 2020, I plan on staying till the end of the picture. I go nowhere until I see the Best Boy’s name in the end credits. And maybe not even then.

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Filed under art criticism, heroes, humor, monsters, movie review, strange and wonderful ideas about life, TV as literature, TV review

Jungle Book

This is a re-post of my review of the Disney movie Jungle Book directed by John Favreau.  It was the movie version I have been waiting for all my life.

MOWGLI_AND_SHANTI_by_FERNL

The amazing thing about this movie is the way it took the book and layered its themes and central idea on top of the classic 60’s Disney cartoon.  The music is still there and intact, though mostly moved to the end credits.  The kid is still cute and mostly vulnerable, at least until the conclusion.  And they have still given the Disneyesque comedic touch to the character of Baloo the bear, voiced by comedian Bill Murray in the this incarnation.  But this is a live action movie and the kid-friendly Bowdlerization of the original story is a thing no longer.

20160424_104053

A classic book illustration by E.J. Detmold

Fortunately for the young actor, Neel Sethi, they don’t require him to play the entire movie naked as would be required by a strictly by-the-book approach.  They allow him the Disney-dignity of the cartoon red loin cover.  But the sense of a human child facing the violence of the jungle naked, armed only with his creature-appropriate natural defenses, has been put back into the story. This version literally has teeth and claws.  We see the boy’s body wounded and scarred during the course of his life in the jungle.  And at a time of crucial confrontation, Mowgli takes the defense stolen from man village, a torch of the feared red flower, and throws it away into the water, facing the terrible tiger with only his wits and the abilities of his fangless, clawless human body.   Thus, an essential theme I loved about the book when I was twelve is restored.  Man has a place in the natural world even without the protections of civilization.

The story-telling is rich and nuanced, with multiple minor characters added.  Gray Brother has been restored to Mowgli’s family.  The fierce power of Mowgli’s wolf mother has been written back into the screenplay.  And the character of Akela is given far more importance in the story than the cartoon could even contemplate.  Although his role in aiding Mowgli to kill the tiger Shere Khan has been taken away from him, Akels’s death becomes the central motivation bringing Mowgli and Shere Khan together for the final inevitable confrontation.  And this movie does not shy away from the reality of death as the cartoon did, resurrecting Baloo at the end, and Kaa’s attempts to eat Mowgli being turned into a joke (though I would like to note if you have never read the book, Kaa is not supposed to be a villain.  He was Mowgli’s wise and powerful friend in the book).  Even the tiger survives in the cartoon version.  This is no longer a cute cartoon story with a Disney sugared-up ending.

I will always treasure the 1960’s cartoon version.  I saw it at the Cecil Theater in Mason City, Iowa when I was ten.  I saw it with my mother and father and sisters and little brother.  It was my favorite Disney movie of all time at that point in my life.  I read and loved the book two years after that, a paperback copy that I bought with my own money from Scholastic book club back in 1968, in Mrs. Reitz’s sixth grade classroom.  That copy is dog-eared, but still in my library.  But this movie is the best thing that could possibly happen to bring all of that love of the story together and package it in a stunning visual experience.

the-jungle-book-2016-poster-header-165110

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Filed under art criticism, humor, movie review, Uncategorized

About Bruce Timm

“Today I thought I would tell you about Bruce Timm.”

“Bruce Timm?  Who the heck is he?”

“You know. That artist with that style… you know, the Batman guy.”

“You mean he played Batman?”

“No.  He designed Batman; The Animated Series.”

“Oh, that guy… the guy who draws girls really good.”

“Yes, that’s the one.”

new-justice-league-series-bruce-timm

“He gave all the DC heroes their modern, animated look… their style and flair.  He made them angular, immediately identifiable, and powerful.”

4

“Yeah, I think he not only did the Batman cartoon, all film noir and retro-cool, but the Superman series that followed it, the Justice League, and all the cartoon series and movies that went along with those.”

“But that’s not all he did, either, is it?”

“No, there’s more.  He wanted to be a comic book artist, but before he got into animation, Marvel and DC turned him down.”

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“I heard he worked at Filmation for a while.”

“Yes, he got a chance to draw and design characters for Blackstar, Flash Gordon, He-Man and the Masters of the Universe, She-Ra; Princess of Power, and the Lone Ranger.

“Dang!  He was busy.  But only superhero stuff?”

“In 1989 he went to work for Warner Brothers.  He worked on Tiny Toon Adventures.”

“That Spielberg/Bugs Bunny thing?  The one with Buster and Babs Bunny?”

“Yeah, that one, believe it or not.”

gimeno-logo-5-tiny-toons-copy

“Tell me more about the girls.  I want to hear about him drawing girls.  Wonder Woman in Justice League was hot.”

“Showing you is probably better than telling you.  Be prepared to cover your eyes, though.  He liked to draw the female figure nude and semi-naked.”

91a861e9c261d53b1d77a8e929c92401

Betty and Veronica from the Archie comics.

brucee-timm-teaser-2012-b-800

bt-nan-book-pictures-01

“I like how he draws pretty girls.”

“You would.”

“He’s the artist you wish you could be, isn’t he?”

“Pretty much.  He’s about four years younger than me.  If I had gone the comic-book artist route instead of becoming a public school teacher, our careers might’ve been parallel.”

“Except he has talent.”

“Yeah, there’s that.”

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Filed under art criticism, artists I admire, comic book heroes, humor

Loish

I want to talk about a living artist for a change.  I know that the artists I have talked about on this goofy blog-that-doesn’t-seem-to-know-what-it-is-really-for, Norman Rockwell, William Bouguereau, Paul Detlafsen, Thomas Kinkade, Fontaine Fox, and Maxfield Parrish, are all quite dead.  But conversely that is a good thing because it means their art has stood the test of time.  But today I want to plug a working artist I find absolutely fascinating.  This is the first artist I ever seized upon as an example of a true master whose chosen medium is primarily digital art.

This is Loish.  You can find her at http://loish.net/ or http://http://loish.deviantart.com/.  Her name is Lois Van Baarle and she is a Dutch citizen by birth.  She has worked as both an animator and a commercial artist/illustrator.  She has lived all over the world in countries like France, Belgium, Germany, and the United States, but currently resides back in her home country, the Netherlands.c18296b715d6f4bb5326967c0aee012c-d7a6fao   What I find so absolutely engaging about her work is the way she can portray ordinary folk, particularly young people and female people, in luminous digital colors (almost as if she is painting with light… and in fact that is actually what she IS doing), and in such a big-eyed, cartooney way (the way you would expect someone who does animation to do it.)  Take a look at all these wondrous creations that I have borrowed from her websites or her Facebook page.

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Isn’t that some of the loveliest artwork you’ve ever seen?  I know some may not like it, preferring what is more realistic, gritty, hard-edged, or more cutting edge… but I love foofy art of all sorts… goofy foofy girly art… and this is among the best I have ever seen.

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