This past weekend, I was able to once again meet someone that I've admired for a very long time: acclaimed, influential, iconic, and legendary comic book illustrator Ron Frenz. I've posted about meeting Ron twice before - once in 2012 and again in 2013 (bit of an inside joke featured in that particular blog) - but I had not had the chance to see him again since. I was thrilled to hear Ron would again be participating in the WV Pop Con after a 9 year absence. He happily signed my issue of The Mighty Thor #433 which featured Thor's new look (designed by Ron). Ron often takes commissions for character drawings at such events. Upon requesting a drawing of Spider-Man (I really enjoyed Ron and Tom DeFalco's run on Amazing Spider-Man) Ron invited me to have a seat while he worked. As he drew, we discussed Ron's artistic background, updates on his and other illustrators' new projects, beloved characters, the creative process and what it was like working as an illustrator on such well-loved books. It's a true joy to meet Ron, and I highly encourage readers to stop by an event he's attending or listen to one of the many podcasts he's often invited to participate in. He's warm, welcoming, and hilarious, and the time flew by. Ron Frenz, 2022 Here's the Spider-Man Ron drew for me. It will be cherished along side the Thor drawing he made in 2013. It's incredible not only to watch him draw, but to own an original piece drawn by the artist of so many incredible issues of Amazing Spider-Man, among many, many others. If you're not able to find an event near you, Ron also does commissions through Catskill Comics.
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I've been fascinated with the Artemision Bronze since I first became aware of it as a young art student. Its open form, simplicity of pose and lack of ornamentation, I've always felt, only add to its regal presence. The fact that it was lying unseen in the ocean for nearly 2,000 years is mind boggling as well. One can only imagine how it would feel to make such a discovery. https://commons.wikimedia.org/wiki/File:Artemision_Bronze.jpg The figure is usually interpreted as either Zeus or Poseidon, and in that regard would be holding a lightning bolt or trident. My figure, pictured below, is a mere mortal, content to hurl his common javelin - yet something in his pose suggests he could be inwardly channeling the earth shaker or sky king in his moment of glory. Javelineer, latex paint on canvas, 72 x 36, 2022
It's no secret that the Renaissance master Michelangelo Buonarroti is one of the greatest influences on my work. In particular, his drawings have always been a source of pure inspiration. I was even fortunate enough to visit the Michelangelo: Divine Draftsman and Designer exhibit at the Metropolitan Museum of NY in 2017 (see sketches from the visit here). In fact, I've always been drawn to the twisting and frenetic energy of his studies for the Battle of Cascina. See examples below:
From those studies, I took inspiration for my recent painting Startled Man. I sought to capture that twisting urgency and heightened awareness in black and white washes of latex paint. The resulting painting owes a deep gratitude to Michelangelo's studies for the Battle of Cascina. Startled man, latex paint on canvas, 43 x 55, 2022
My recent classically-inspired mixed-media works on raw canvas - Nemo propheta in patria, Progenitor & Patrician - were inspired by the Roman portraits in the Metropolitan Museum of Art in NY. In their collection you will find gods, emperors, senators, and all manner of citizens of Rome, all beautifully carved in marble. One particular piece always caught my attention - the Marble Portrait Bust of a Man: Courtesy of the Metropolitan Museum of Art - check out this link for a 360 view of the portrait I even sketched this piece in black and white ink during a visit to the Met in 2017: This piece, and the others in the Met's collection, display a penetrating gaze and distinct personalities that traverse the thousands of years that separate their subject and ourselves. As with the above image, they often possess a softness or vagueness due to damage and time. These characteristics only serves to enhance their personality and emphasize that great chasm of history.
My recently painting, Laocoön, was unsurprisingly inspired by these famous versions of the myth. The story involves the Trojan War, Odysseus' cunning, the gods' wrath, a ruse and a priest - upon angering the gods, Laocoön and his sons are devoured by sea serpents. The large marble piece below is one the most famous in art history. Buried in the earth for hundreds of years and discovered in a field during the Renaissance, this piece dazzled its finders (Michelangelo came immediately to witness it) and viewers ever since. A perfect example of Hellenistic carving, it embraces the heightened drama and graceful power of the period. By Hagesandros, Athenedoros, and Polydoros - Marie-Lan Nguyen (2009), Public Domain, https://commons.wikimedia.org/w/index.php?curid=1302927 This painting by the Mannerist painter El Greco - created some 1,700 years after the marble above - is one that I love to visit at the National Gallery of Art in Washington, DC. The heightened drama and pain exist in this interpretation of the myth as well, and the grace here is punctuated with raw expression. By El Greco - WQGAoHxyYQDzkQ at Google Cultural Institute maximum zoom level, Public Domain, https://commons.wikimedia.org/w/index.php?curid=21996733 Lastly, the strokes I used to create the "serpent" in my painting were inspired by the the fluid and simple marks of Zen "Ensō" paintings. Ensō embrace one spontaneous stroke of a brush to create an imperfect circle. Though the continuous line in my painting isn't a circle, I still wanted to adopt this honest and simple mark to capture the energy of the moment. By Kanjuro Shibata XX "Ensō (円相)" - Own work, uploaded by Jordan Langelier from his personal collection, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=551770
This 5th century BCE krater was an inspiration for my recent large mixed media painting Talos, the Bronze Man. The painting depicts a mythical construct created (some myths say by Hephaestus) of bronze. The giant patrolled the shores of Crete and hurled large stones at invaders. The death of Talos depicted on a 5th-century BCE krater now in the Jatta National Archaeological Museum in Ruvo di Puglia By Forzaruvo94 - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=22906318 Talos, the Bronze Man, latex and spray paint on canvas, 36 x 72", 2021
Often times the desire to paint a particular subject comes upon us in unexpected ways. An image you might have seen before, takes on a new significance upon viewing it again. Such an instance happened to me as I came across both of these ancient images recently depicting the famous scene from Homer's The Odyssey. They inspired me to create my own version soon after. Roman mosaic, 2nd-4th century AD Attic red-figure stamens, ca. 480-470 BC With my own painting, I strove to capture the maddening, aching struggle of the hero as he wrestles with his bonds and the insurmountable allure of the Sirens' song. Odysseus at the mast, latex paint on canvas, 36 x 72", 2020
Painted Drawing 6, chalk pastel and acrylic paint on canvas paper, 16 x 20", 2019
In a recent blog I expressed excitement in creating "painted drawings" in homage to the work of Palma Giovane. Here are the first three examples of this very fulfilling method. See them all here. Painted Drawing 1, chalk pastel and acrylic paint on canvas paper, 16 x 20", 2019
I recently visited the "Drawing in Tintoretto's Venice" exhibit at the National Gallery of Art in Washington, DC, and was particularly entranced by the drawings of Palma Giovane (1544-1628). Giovane enhanced his chalk figure drawings with touches of oil paint. This approach has inspired me to combine some of my own figure drawings with a touch of paint. Examples to come. Palma Giovane (1544-1628) Palma Giovane (1544-1628) Palma Giovane (1544-1628) Palma Giovane (1544-1628)
Francisco de Zurbaran: Hercules Wrestling with Antaeus, 1634 Tintoretto: Hercules and Antaeus, 1570 Antonio del Pollaiolo: Hercules and Antaeus, 1478
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