Art Monday: Durer's mum

Been thinking about my university days a lot lately. Not sure why.

Until I was in my 4th year, I had never undertaken to copy the artwork of a great master to advance my own work. As far back as high school, friends of mine and I eschewed copying as a stunt some of our peers were adept at, but which didn't lend itself to learning. Copying still life was fine; the strokes of the pencil or brush were our own. So much better than a copy of a copy.

During a class on historical techniques and materials, I d
iscovered how wrong I had been. Re-discovering each stroke a master like Albrecht Durer had made allowed me to romanticize a connection of minds while I worked. It took surprisingly little time to complete the assignment (I'll let others judge if it should have take me more time).

Here are my drawings compared with the originals by Albrecht Durer (1471-1528) of Nuremberg, arguably the the master of Northern Renaissance Europe.




































- - - - - - - -
Original artwork on The Flying Trilobite Copyright to Glendon Mellow under Creative Commons Licence.
Flying Trilobite Gallery
### Flying Trilobite Reproduction Shop ###

Life Drawing - Male

Nothing is as interesting to human beings as looking in a mirror, or looking at each other. Humans evolved on the African savannah and as a species became very good at some specific things.

We can hurl medium-sized rocks and sticks a medium distance. We can run and throw at the same time, better than any other animal.

We are excellent at recognising patterns, to the point of finding frequent, imaginative false-positives.

We can instantly see the mistakes or novelties in depictions of the human form.

A strange thing has happened while reading two different books at the same time. I was reading the hard-sci-fi novel about global warming, Fifty Degrees Below, by Kim Stanley Robinson, and I am still enjoying philosopher Daniel Dennett 's Breaking the Spell: Religion as a Natural Phenomenon, and both of these books are mentioning Acheulean hand-axes.

I had never heard of these before, and they are a fascinating part of our prehistoric heritage, throughout the Old World continents, really, that I am quite upset this was never mentioned in school. I mean, they were in use for almost a solid million years! Some mysteries still elude us as to their use, but they were obviously important enough to be so abundant, and in my book, by age 12, should have been mentioned, studied and discussed.

One of my favourite characters that I have read in years, is Frank Vanderwal in K.S. Robinson's Fifty Degrees Below. He finds out about these hand axes from some target-frisbee-throwing freegans, and decides it is a nice neolithic way to get exercise.

After a nearly a million years of making and teaching about Acheulean hand-axes to generation after generation, might there be a propensity for making and caring for tools, and feeling satisfied when using them well that is reinforced neurologically? Do we have a receptor that releases a trickle of endorphins when tool use is successful? As an artist, I feel it seems likely. However, that is anecdotal, and not worth as much as evidence pursued, double-blind trials followed, and theories confirmed.

In the spirit of our forebears, those deadly upright artisans, this post contains images of life drawings I did last spring, where the model was holding a long pole throughout the poses.