artist’s journal by peter dickison

This is the second version mentioned below of Europa and the Bull. Here is a more dramatic version; Europa is taken against her will. She looks back to land where her companions are and half waves her free arm for help. A distant boat sails away, too far in the distance to see her plight.

The subject has an erotic charge, the horns of the bull representing both a mortal danger to her and symbolic of the threat to her chastity. Whether this version or the previous is more suggestive is perhaps a matter of opinion. Either way, Europa is on the crest both of the waters Zeus is stealing her across and of a different destiny than the one she knew a moment ago.

I have moved on to charcoal on approx 20×25 inches ingres drawing paper for the Europa series. I like the laid texture of this paper, and I use either Canson or Fabriano. I always use vine charcoal.

I am trying both a passive Europa here, and another version with a more dramatic, terrified Europa. This shows a rather gentle bull with her hand almost caressing the bull’s head. Of course the bull is actually Zeus, so his less ferocious appearance can be explained by this fact.

Perseus (12x18cm, graphite)

Perseus is shown in a sketch with his winged sandals, curved sword, helmet and shield, as he prepares to slay the sea creature Ceto, thereby rescuing Andromeda from her terrifying plight. I recently executed a small painting of the subject, which has been exhibited at my gallery.

Susanna and the Elders. (25x19 cm, charcoal)

Susanna at her bath, realizes she has unwelcome company.

This is another theme which I have painted in the past year. I have a new version in process.

Orfeus' last glimpse of Eurydice. (24x19 cm, charcoal)

Orpheus has brought Eurydice back from death with his singing and lute-playing. Doubting that Eurydice is still following, he looks back and she sinks back to the underworld forever.

This theme is one of a group I am painting in oil, to be exhibited in summer 2010.

I saw the exhibition “Titian, Tintoretto, Veronese” at Boston’s MFA this week. There, treasures are for the taking as one stands before the great paintings of Renaissance Venice. My mind races with thoughts of all the paintings I saw, and I am newly energized from the viewing. Last night the portrait class met and I painted a portrait of Christina with thoughts of great paintings from the show still fresh.
The result lies below.

This is a charcoal drawing for a motif of which I am currently painting on a large size canvas. The figures clamber on rocks and stand below, with a central opening to distance.

I have very mixed emotions about this; if it conveys a troubled feeling, it hits the mark.

Cliff Group

I recently sold an oil painting I did in Brooklyn back in 1986. I had a loft space with a view of Brooklyn looking towards “downtown” which included the towers of the World Trade Center in the skyline. The painting has been displayed in my home often over the years- I have always enjoyed it. The patron to whom it now belongs was captivated by it when visiting recently, and the sale ensued.
I post here an earlier sketch done on a 9×12 inch canvas to elucidate the process of going from small to larger, from the raw sketch to a more complex composition.

The 9×12 inch sketch, above.

New York From Brooklyn, 1986, 16×28 inches.
Private Collection

I painted this small still life in oil spontaneously the other evening. It is direct and frontal, without preconception. I did it for the pure thrill of painting, to forget all else and live within the colors. For an hour and a half, I was truly joyous.

I apologize, dear viewer, for the poor photo image quality. I hope to improve this one in the future; for now, rest assured it is much more vibrant in person, as paintings usually are.