September 8th, 2010
Medical Illustration has its place in the history of the graphic arts. Some would like to make it an art form in itself. Certainly Andreas Vesalius did create an artwork in its own right with ‘the Fabrica’. However, that large, garish cast of a section of a walking pregnant woman, generated by Brit-Art spiv Damien Hirst has nothing like the presence of an edition of ‘the Fabrica’ – I should know, in the past I’ve sat and perused a first edition of the said book and on another occasion I’ve stood in the same room with Mr. Hirst and one of his artworks (and David Bowie). Come and hear my version of events in the development of Western anatomical consciousness at the National Gallery, lunchtime on the 20th of September 2010.
www.alan-dedman-artist.co.uk
Woodcut portrait of Andreas Vesalius
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September 6th, 2010
Why do we need to know what is inside us in order to paint better pictures of the figure? As part of the general thrust of empiricism, many unfortunate bodies were put under the knife to satisfy the demands of science and art. We look at this in greater depth in the talk I will be presenting at the National Gallery on September the 20th this year – lunchtime in the Sainsbury Wing lecture theatre.
www.alan-dedman-artist.co.uk
Image by Joel Peter Witkin
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September 4th, 2010
If you want to hear about how artists (and scientists) have worked with human remains to develop and authenticate their work – then come to the National Gallery on Monday, September the 20th. I will be talking on the topic in the lecture theatre of the Sainsbury Wing at lunchtime. The talk is free of charge and open to the public.
www.alan-dedman-artist.co.uk
Figure by Andre Pierre Pinson
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September 2nd, 2010
I will be presenting a lecture titled: ‘Art or Science?: how artists have used the deceased in their quest for truth’ at lunchtime on Monday the 20th of September, 2010 at the National Gallery (London), in the lecture theatre in the Sainsbury Wing. (see National Gallery website)
The subject is potentially vast and so will be limited to looking at how artists have worked with human remains to create stronger, better, more authentic images. The nature of the subject invariably requires some discussion of how the paths of art and science have crossed and intermingled. We look at some of the works in the National Gallery collection and question the moralities of the day which gave rise to an increasing objectification and materialising of humanity. The talk is concluded by raising further questions about how art may be constituted and our seemingly national obsession with the serious issue of DEATH.
www.alan-dedman-artist.co.uk
An anatomy after Hogarth
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August 19th, 2010
One more of the continuing series of nudes I’ve been doing. The pose affords a lovely naturalistic form, like an egg. I used a predominantly blue palette – to keep exploring the effects of this colour scheme with the subject. I have done another version (in progress) in warmer colours. This is done in oils on calico over board. 350 gbp
Curled up nude in blue by Alan Dedman
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August 16th, 2010
This is another, updated, refined version of the one before. This series of nudes (eight or so in all) have been concentrated from a number of sessions with the model. The poses are reflective of the time of day and the space she was in. I used an oriental rug on some occasions, to add colour. The difference between oil and acrylics is notable. This painting has been worked in acrylics. You can see the transition from the earlier example. It is of a modest size and set within an irregular shape. 275 gbp
Yawning nude by Alan Dedman
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August 5th, 2010
This is one of the current series of nudes I’ve been working on. They are all small, irregularly shaped, done in acrylic or oils. Here the model is posed seated on an oriental rug. She is yawning (bored). This painting has since been worked on and has changed. Tomorrow’s blog will show how it has changed.
www.alan-dedman-artist.co.uk
Seated nude by Alan Dedman
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August 1st, 2010
Bruce was a reluctant model, as you can see. I like this study because of its energy and the quickly chiselled marks made with a soft pencil. My work ranges between the energised, raw things like this and the more ‘apollonian’, refined images which have been worked less frantically. NFS
www.alan-dedman-artist.co.uk
Portrait of Bruce by Alan Dedman
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July 30th, 2010
This is another work of mine which was shown last year at Clifton Arts Club’s 101st Annual exhibition. Titled ‘the General’ it is taken from a photo published in the Daily Telegraph, 1984. The man in the image was a retired colonel, nicked for speeding. I liked the pose and his look of complicity and guilt fitted the content of a Wilfred Owen poem titled ‘the General’. So I painted it, using gouache paint. I added all the colour and gave him an Eton tie? Telegraph photo’s of the day were still in black and white. The painting is for Natalia to look at, she being a student of mine. It demonstrates my imaginative treatment of the ‘nuclear’ exterior, beyond the window. All made up, by means of artistic licence. 550 gbp
www.alan-dedman-artist.co.uk
The general by Alan Dedman
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July 30th, 2010
This is one of the small nude studies I have shown this year with Clifton Arts Club. The twin to the preceding one. Done in an altogether different frame of mind – this study of the same pose (from life) is in pastel and acrylic. The marks are intuitive, forceful and the colour is atmospheric. I like the way I use several studies at once to feel my way towards an apposite statement in response to my subject. 250 gbp.
www.alan-dedman-artist.co.uk
Kneeling nude by Alan Dedman
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