The pregnant nude in contemporary Art

Jonathan Yeo's recent photo-realistic painting of a heavily pregnant Sienna Miller has attracted much media comment as much for the subject matter as her obvious celebrity. With a few notable exceptions the representation of the pregnant nude in Art is still relatively uncommon. Personally, I think this a great shame but I have been lucky enough to produce one work so far which celebrates this special life moment.

"La Serenissima"

chalk pastel

10.5 x 7.5 in. / 27 x 19 cm.

I had the great good fortune to draw my model Kate, with whom I have worked on a number of my sculptures, when she too was pregnant. And from these drawings I developed this pastel painting. The arch format, the treatment of shimmering light and the dark interior owed much, at the time, to a visit I had made to Venice. So I imagined Kate sheltering from the hot summer sun, seated by an open window in her palazzo in Venice, overlooking the Lagoon. In celebration of that transient but joyful state, I gave the painting the title of "La Serenissima", which means the most serene and is the name by which the City of Venice is known. Just seemed appropriate.

A pregnant torso will also feature as the third sculpture of four in a series carved in stone I am working on. Each season of the year in my Quattro Stagioni (Four Seasons) series is represented by a female torso morphing into a plant form. In the case of the now finished Primavera (Spring) the figure is morphing into a Snowdrop. Este (Summer) which I am currently working on takes the form of a reclining torso morphing into  an Arum Lily and Autumno will be a pregnant torso as ripening fruit. 

8 by 8

I am a big fan of the Courtauld Gallery. It has a wonderful collection of Impressionist and Post Impression painting but on a recent visit I was particularly taken by the Seurat Sketches in Gallery 11b. There are half a dozen oil sketches all about 8 x 6 inches, mostly done as studies for bigger work. I found myself drawn to them, going back again and again, to study them. In these sketches Seurat is experimenting with techniques and working with a limited palette. I found them very fresh and exciting as works in their own right.

And it got me to thinking about setting myself a project; to create my own series of small oil paintings with a restricted palette using no brushes, just a palette knife.Using a palette knife stops me fiddling and allows me to work the paint impasto in an almost sculptural manner. I also opted for a square format, measuring 8 x 8 inches (20 x 20 cm.). The square format presents its own compositional challenges but opportunities too. So far I have got two paintings which cut the mustard, at least in my own terms, "Le Jazz" and "The Show Must Go On!". With Le Jazz there is a lot of scumbled and glazed colour. The physicality of the paint is more apparent with heavier impasto in The Show Must Go On! There are others, works-in-progress, and I am enjoying experimenting, very invigorating. Another six to go for my little "8 x 8" series. Watch this space!

Le Jazz

oil on canvas

8 x 8 in./ 20 x 20 cm.

Based on a series of sketches of the Dutch Swing College Band which I did a couple of years ago at a jazz festival. Using sketches of Marcel Hendriks on piano and Adrie Braat on double bass, to which I have added the singer in the red dress to suit my composition. I often work listening to Jazz, particularly a French internet radio station called Jazz Radio , "La Radio de tous les Jazz". Hence the title of the work, "Le Jazz"! Done just using a palette knife to stop me from fiddling with the detail.

Two of the original moleskine sketches

Note : the painting is not up on my web-site yet..

La Bella Milanese - A Question of Attribution

The discovery of a major work, the first in over 100 years, by Leonardo da Vinci was presented last week at the Woodstock Literary Festival near Oxford. I had the good fortune to be one of the few lucky enough to have a ticket to hear Martin Kemp, the Oxford art historian and world's leading authority on Leonardo talk about this remarkable discovery.

Leonardo da Vinci has long been one of my heroes but his work really came alive for me when I stood just inches away from his drawings at an exhibition of his work at The Hayward Gallery in London, 20 years ago, in 1989. Martin Kemp recalled in that catalogue the many different techniques and media that Leonardo adopted during his long and fruitful career. But that did not include coloured chalk on vellum, the medium for this new, previously unknown work.

Thought until now to be a 19th century German work in the renaissance style, Martin Kemp presented the basis of his historical and scientific analysis to support his view that this portrait of a young Milanese woman is, in fact, a work of Leonardo. His findings are shortly to be published in a book, "La Bella Milanese", which I look forward to reading. The exhaustive researches which lead him to question and revise its attribution, should make for a fascinating read.

I have paid my own homage to Leonardo in my chalk pastel painting, "One Summer's Day", in which I attempted to capture the transient beauty of my own Bella Milanese as if on a worn and fading fresco. I don't make any claim to Leonardo's mastery of technique, composition or imagination but I continue to be inspired, 500 years after his death, by his vision and ambition.