To the Unknown Helper #14 (Reflections on Mahler)

This color study exploits the transparency effects of Gimp over the earlier black and white below.

Fun stuff starts when the drawing is enlarged and transferred onto the full size canvas.

The foreground hand has to recede in a complex foreshortened fashioned and the state of the hand will probably change in a pentimento.

The feet are now shod, since in Asian culture, bare feet mean poverty and not virtue. Matteo Ricci, writing from the court of Ming in the 14th century, wrote the Pope that the court ladies would not accept Jesus unshod as a teacher. Since in China scholars and teachers have been historically more respected in the West, the court ladies would not accept Jesus if he were a mere fisherman.

Therefore the Helper gets dem golden slippers.

Although I used a cheap Korean portable projector (which I also use in teaching) many changes occur at this time. Each line, each curve, matters.

David Hockney writes about the fact that the old masters (the pre-Impressionist painters commencing with Giotto) used a projector in the form of the camera obscura. The important thing is that this is not a mechanical process. You cannot turn off your brain, but must ever be feeling and thinking about the fall of draperies and the curve of bone.

Especially if you’re not using a model. I am trying to create more a cartoon of a lost possibility, a picture of a picture of a mental image and it is easy to go off the rails. But then you have to climb back on.


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