Monday, October 12, 2015

de mi corazon

       The boy was staying home from school ill. I told him I was hoping we could look at a special book I had brought with me. But, I went on, I wasn't going to fight about it. He could ask me about it when he was ready. If I were home ill at his age, I'd probably be watching TV cartoons also. I remember him coming in to join me at the dining room table.
      I always brought something along with me when it was my turn to watch him. Sometimes we played Stratego or UNO. Sometimes we assembled plastic straws and connectors. Thursday morning he opened the green box, and gave us each six cards to start with. He drew a card off the middle stack and placed a Flat Tire on my pile. I drew a card and I placed a Spare Tire on my pile when it was my turn. Soon the mileage cards were being counted. He was very good at adding numbers, especially hundreds. We played Mille Bornes twice. A card game my brother Paul and I used to enjoy. ( See link 1 and link 2 ) During one game he had dealt himself all four of the Safety or accidents-free cards. So I was unable to give him a Flat Tire, an Out-Of-Gas, an Speed Limit, a Stop, or an Accident.



     Back on a soft cushion in the living room, we flipped through a large scrapbook of mine. I pointed out family photos and he was soon able to figure out which boy was me Karl and which was my brother Paul. There was a room with kangaroos kicking over barrels, a laughing monkey with a pitcher of water, a janitor's dust mop, and a train roaring through the library. The typed piece was called "The Library Caper," written by a character I called "Sam." Double click on images to enlarge.


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Three minute video.

    There were early drawings by my brother and me that my father saved and that I added to this special collection.

 

I read to him the deep sea adventure I had before I was thirteen. A poem about a yellow cat and a skunk that stunk. And a page about Jan Jan called "No One Is Like Jan" after I was grownup and married.



     The back of the book had felt scraps glued down willy-nilly. The front of the book was stitched carefully together by me. My mother Dorris had taught me to stitch with needle and thread when I was growing up. I love bright colors and textures.

 

The letters spell out "El Es Senor De Mi Corazon," which is Spanish for "He Is Lord Of My Heart." My nephew was able to match the scrap shapes on the back with the cut-out letters on the front.


It was important for my nephew to see the stuff I drew and made up when I was in grade school and even later. I believe the boy will have stories and pictures of his own to make and to treasure as he grows up. Thank you God for parents who stitched books and encouraged me to write stories. I used mom's manual typewriter to click clack on.


One other note: During one visit I took my cassette tape recorder. The boy was interested in the technical aspects of this foreign-looking device. He learned how to start and stop and change the tape cassettes. But more important to me was sharing the Rootabaga Stories as told by Carl Sandburg. (A vinyl LP of Carl Sandburg reading some of the stories, Rootabaga Stories as told by Carl Sandburg was released on Caedmon (TC 1089) in 1958, courtesy of Wikipedia, https://en.wikipedia.org/wiki/Rootabaga_Stories, accessed October 25, 2015) I listened to this LP record when I was young myself. Then, after college, I checked out the record from Link Library, at Concordia, and taped it on cassette for myself. Sandburg has a comforting grandfather's voice. I know about the Babylonian Babboons. "All hairy all over, with their bangs hanging down their foreheads." 

Twice now, the boy has enjoyed drawing and listening to the cassette. The stories are full of imagination. Its prose are a perpetual delight to me, at 60 years old. And now, enjoyed by this fellow too.

(Mille Bornes courtesy of http://www.ebay.com/itm/like/371458725396?ul_noapp=true&chn=ps&lpid=82 and http://www.hasbro.com/common/instruct/MilleBornes.PDF  accessed 10.19.2015. Black and white family photos by Reinhold Marxhausen. Drawings and poems by Karl Marxhausen are copyrighted and may not be reprinted without written permission from the artist.)


vertical canvas



Tuesday morning, October 15th, I worked on a vertical canvas from 1:30 to 4:00 pm. It measured 24 by 48 inches. Double click on images that follow to enlarge details.

   Drawing with paint charts where I am in the image. Like a network of push pins in a map. The mind calculates the proportions, what is next to what, how far is it from the trunk of the tree. In the video, you can see the hesitation of the artist, the hovering brush, the turning of the head from the canvas to the tree and back to the canvas. Matisse said a painting is not an exact replication of what you see. It is a an organization of brushstrokes. Dabs of mixed color.

   This drawing of mine tells you what parts of nature I was deciphering. What a remarkable process. It is a translation from living plant matter into neighborhoods of pigment-infused polymer emulsion.

Details (ABOVE)

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Twelve minutes.

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Sixteen minutes.

Untitled (Vertical Tree),
acrylic on canvas,
24 by 48 inches,
2015








Tuesday, September 22, 2015

going up

About next location: the tree trunk leads up, side branch on left, top green, vines coming down diagonal from top center down to lower right corner, upper right silhouette leaves high up, reaching like a web across space to touch vine tendrils in center, central intersecting leafy vine. I admire Asher Durand trees that go up and wind around and trunk gets smaller. Can I do that? Can I depict the space between vines and leaf nets? After scouting my yard, I placed my stool where I had the best view. What I wanted would have been impossible to shoot with a camera. Close range. Looking straight up. Not about the sky or vanishing points per se.

After lunch and a nap, I was ready to T-R-Y another location. Today, Thursday, Sept. 3rd I worked from 2:00 to 4:00 pm on this "going up" piece.

With my wooden easel tied up by the pond, I tried a temporary easel to hold up my cradled panel. I used an iron planter post. After several tries and moving the post around, the panel was balanced on the hook, and the post leaned forward toward me, but kept the panel elevated fine the rest of that first afternoon. Ha.

To be sure, this was an extreme experiment. Could I paint something very close to me - that went up up up - without the aid of a preliminary drawing? The answer to that remained to be seen.


This is what is beside me. Shows left vertical branch and some of the upper foliage.

Above me. Shows crossing vines with light and darker leaf nets behind it.

The tip top branches in the sky. The labyrinth of crossing illumined leaves.
Leaves draped over vines, hanging down shapes.

Close up of trunk with olive green bark at a juncture.

What will I squeeze onto my 43 by 34 inch panel?

The seven videos gives you an idea of the time I am spending and practices I go through. Like, spraying down the area and my clothing with bug spray. The looking back and forth at the subject. And so forth.

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Going Up 1. Seven minutes

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Going Up 2. Fourteen minutes.

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Going Up 3. Eleven minutes. During the course of the video notice how the light changes from cloudy to bright. Light changes the subject you paint outdoors. The artist paints in an ever changing environment.

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Going Up 4. Four minutes. The next day, Friday, Sept. 4th, I worked in the afternoon again from 1:00 to 3:00 pm, or there about. I started out with the temporary easel, but found out once I started to paint that it wasn't going to work for me this day. Sigh.

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Going Up 5. Thirty-five seconds. Ooops.

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Going Up 6. Fourteen minutes. With the panel on the regular easel I went back to work. On this second afternoon the painting went through many changes. (See next photos. Double click to enlarge)


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Going Up 7. Five minutes. By the time I stopped for the day, I had painted out much of the painting. Down to what I could call essentials.

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On Saturday, Sept. 5th, I spoke about this work. Four minutes.

Because of what I learned from two other paintings, I returned to this work a week later Wednesday, Sept. 16th, from 2:00 to 4:40 pm. See the fresh paint, next. Double click to see enlarged. Compare with previous states.






painting notes C


Detail 1

Detail 2


On Saturday, Sept. 5th, 
I spoke about this piece. Five minutes.

Detail 3

Detail 4

Detail 5

Elements At Woodward, 
acrylic on panel, 
32 by 28 inches, 
2013