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<\/a><\/p>\nHouse brush, paint splotched jeans, my Brisbane hat, and first strokes on Jesus. \u00a0Click on every picture\u00a0for a larger view.<\/h6>\n
The occasion this time was a one-day event at the Convention Center in downtown Phoenix. It was for the sake of fostering unity between Catholics and Protestants. I’d been invited to come up with something that might symbolize such unity.\u00a0That was just two months ago, still in the midst of other projects. It sounded intriguing and I went to work on it.<\/p>\n
My idea was to paint on actual doors, which I could buy, already primed, at Home Depot. It was actually a marvelous solution, as they took the paint very well, both acrylic and oil, a combination that works well with my style.<\/p>\n Part of the idea was to hinge the paintings together, something I worked on here in the garage. The hinges provided connection, further symbolizing unity, and were a\u00a0solution for the paintings to be free standing. And,\u00a0of course, doors are made for hinges.<\/p>\n I decided\u00a0to paint three prominent Catholics and three prominent Protestants, either contemporary or from history. As Pope Francis has shown himself in favor of such reconciliation, and would even have a video message for the event, he was a natural selection and the first painting I made.<\/p>\n I did a search for the\u00a0leaders I would paint. I could have chosen many, but was content with my six. Here is Theresa of Avila, mystic, writer and tower of comfort during the difficult days of the Spanish Inquisition. Of course, for these there was no photo reference. For Theresa I found a statue, and an early painting of her face. Oh, and for hands, I used Anne’s.<\/p>\n For an influential Protestant I chose William Wilberforce who, out of his Christian convictions, contested the British slavery trade. A movie was made about him a few years ago, Amazing Grace<\/em>. \u00a0The part was played by Welsh\u00a0actor\u00a0Ioan Gruffudd, whose photo I used as a model.<\/p>\n William Tutu is a current force for good, arising to prominence first in South Africa, contesting\u00a0apartheid. I put a lot of linseed oil in that red paint to get it to flow fast. It produced a nice transparent glow, but almost never dried.<\/p>\n William Tyndale was another prominent Protestant, an early translator of the English Bible and the first to use the new technology of printing to get it into the hands of the common people. Once again, with no photo, I found a statue for his stature.<\/p>\n Diedrich Bonhoeffer was a theologian and Lutheran pastor in Germany during the days of Hitler. He saw through it, stood up to it, and in the end was hanged. I’m currently reading his most known book, second time in a row,\u00a0this time very slowly.<\/p>\n Here’s what the line up of paintings on doors looked like, standing in our patio, before loading them up in our mini-van and driving them across to Phoenix. The final one I would paint in public two days later during the conference.\u00a0Not shown is a see-through\u00a0plaque I made for each, to identify the person, their date, and a brief quote.<\/p>\n Here’s what the room looked like when I first began unloading paintings, my easel and two kits of paint materials\u2013\u2013one for acrylic, one for oils. Four thousand chairs were set up, and later the stage area decorated and full.<\/p>\n I waited until the event was in full sway before starting. Too bad I can’t share the spirited music, the great band, the heart-felt singing. Flags and banners were part of it all. As I began painting, I turned and took this quick shot with the i-phone.<\/p>\n I’d brought this final door sketched in, but not painted. At this point, taken about midday,\u00a0it was plenty recognizable what I was doing. Attendees enjoyed glances at the progression as they listened to speakers and participated.<\/p>\n The painting as it looked when I put my brushes down. It would be the center of the seven-painting “movable mural.”<\/p>\n It was the very last part of the day when we brought all the paintings to the stage, hinged them together, and made the presentation\u2013\u2013in English and Spanish. Here I’m explaining who these images represent and why I chose them.<\/p>\n As I mentioned in closing, painting Jesus can feel somewhat intimidating. On the other hand, he is very forgiving. I do like the “manly” look, though maybe a bit rugged here . . . more like he was just in from the desert. (But that works too.)<\/p>\n It looks diminutive here, though it’s 6.5 feet tall\u00a0by almost 19 feet wide. Again (as with all of these), click on the picture for a larger view.<\/p>\n Someone sent me this snap from their camera phone. I just like this image, my working on Jesus at close range. (Normally he’s doing that on me.)<\/p>\n<\/a><\/p>\nA charcoal drawing, more detailed than usual, leaning on our porch.<\/h6>\n
<\/a><\/p>\nShown are two partially finished\u00a0and another at first stage.<\/h6>\n
<\/a><\/p>\nIt starts with a photo search; the person must be standing, and just the right action.<\/h6>\n
<\/a><\/p>\nThese are under-painted with acrylic, detailed with oil. I’d intend to render further,\u00a0but then\u00a0liked the unfinished look.<\/h6>\n
<\/a><\/p>\nYou can see a slightly different approach to each of these paintings. Such just happens.<\/h6>\n
<\/a><\/p>\nNice to have a smile among these auspicious personages.<\/h6>\n
<\/a><\/p>\nI used lots of license with these colors, I’m sure, and left the under-drawing in tact.<\/h6>\n
<\/a><\/p>\nI had a photo, yes, but just black and white.<\/h6>\n
<\/a><\/p>\nI must say, I enjoyed these paintings, liked how they came out, but I never made them to keep.<\/h6>\n
<\/a><\/p>\nMy spot would be up where that orange ladder was then standing.<\/h6>\n
<\/a><\/p>\n<\/a><\/p>\nA\u00a0roll of paper towels here used as a brush.<\/h6>\n
<\/a><\/p>\nThe climax.<\/h6>\n
<\/a><\/p>\nThe climax of the climax.<\/h6>\n
<\/a><\/p>\nA close up of the oil painted face.<\/h6>\n
<\/a><\/p>\nThe line up.<\/h6>\n
<\/a><\/p>\nOne more.<\/h6>\n