|1976 - 1977
Book, hard bound, 8
This little sketch book had been
during my first summer in
Cortona. I taped off the first part of
the sketch book that had been used by the
previous owner and worked
through the rest of it.
I was in Cortona when
"picked up" this sketch book; also, some of
are from the time
when I returned to Georgia.
Time wise, emotion wise, this book
in the middle of the Tom "Reign
Error." Drawings of
Page 2: When on the lower levels of
town of Cortona, one could look up and back
and see what
Picasso and/or Cezanne must have
their early cubist landscapes from the south
of France: buildings
an abstract way. There seemingly
were no right angles in the
entire town of Cortona! The city had
built upon itself over the centuries and proved
looking across the top of a labyrinth
but not down into it. I regret now not spending
drawing different views of the ancient
During my first year
in Cortona, I,
along with all the other students, were
required to take art
history. I was working on a graduate level
under Professor Etta Arnstein.
Throughout this book, there
are pages of notes taken from lectures and on site of a
particular piece of art or architecture.
I never passed through the Piazza
Navona without wanting to stop and draw the Bernini Fountain of
only a quick sketch.
Page 6: There is
situated in the Piazza del Popolo a
large obelisk, brought from Egypt
during Roman rule. In
the Baroque era, these obelisks were ferreted
out of their storage
in large, public
(St. Peter has one in the
to show the triumph of
Christianity over pagan religions; it
was the time of the Reformation, after all, when Rome would take
on a dramatic and dynamic shine. Centuries later, however,
during an afternoon siesta, an older man takes advantage of
provided at the base of the obelisk for his
afternoon nap. Thus
dynamics and shine; a space to take a nap
a place to take a nap.
Page 8: Waiting for Bramante's famous "Tempieto" to open
after the mid-day siesta, Tom
bench in the shade; he sits and reads; the day was very hot and
Page 9: Tom naps on same said bench.
Page 12: Tom continues
The Archeological Museum of Rome houses
pieces of late Greek and Roman sculpture.
especially taken with this female figure of
the "Dying Niobid." At first,
did not know why the figure was
as she was. But then
saw her back where the arrow of either Artemis or Apollo had
killed her, one of the Niobid children. The myth came back to me
then. As the young
Niobid desperately reaches
for the point of pain,
I found her a figure of power and desperation; beautiful,
Page 17: I had seen
the photo of the Hellenistic figure of the bronze Boxer; but
now, here I was with it
"face-to-face," at the Archeological Museum. What a great
model it turned out to be.
The pathos of its expression brought to mind Simon and
Garfunkel's song "The Boxer."
Page 17: Upon entering the church of San Andrea al Quiranale,
Boromini's design, it was like some very different thing than
any other church I'd seen in Rome. The interior of the dome was
the work of genius. I
hurriedly tried to work out the pattern—geometric yet very
fluid, just like the facade.
Page 26: This is a
quick drawing of a
good friend I had made
on the trip, Marilinda.
Page 28: This is an idea for a piece of sculpture that could
only exist as a drawing.
Page 31: With ink and brush, I do
drawings of Tom, brooding. Now back in Georgia; Rome,
where Tom had obtained a position at
Mt. Berry College to teach art history as
an adjunct faculty,
He wanted me to join him there and live with
him. I was so disillusioned with graduate
school and so in
need of a place to live that I took him up on
it. When we first moved there (we had no
grandmother's rocking chair; we made a bed by
single mattress on a door that was laid across two saw horses).
We also had his dog, "Brownie," cared for over the summer
by his ex-wife, Pam, Brownie was a mixed
Irish Sitter kind of dog. That dog never did like me. There are
absolutely no drawings of "Brownie" in any of my sketch books. I
didn't like him too much, either.
When we first got to Rome, Georgia, a lovely town, we had no
car. Tom had to walk to Mt.
goodly seven mile hike. Within a month,
however, he purchased a used Toyota pickup truck.
innumerable breakdowns of this little truck,
I learned car mechanics.
could change the
points, change oil, replace gaskets,
take out and replace spark plugs, and change out the breaks;
removing and fixing a
flat tire and then replacing it became
child's play. Poverty is a wonderful teacher.
Page 38: This is an illustrated image of the last time
saw my grandmother alive. Its proportions were exaggerated; but
loved her so very much.
Page 39: I
found myself drawing older women more and
more often—their statuesque forms
almost universal. The drawing became an easy
maneuver of the pen or pencil.
Page 46: This
is an attempt of "figure in
landscape;" Tom fishing
a nearby river.
Page 60: A drawing of my mother done from a small black and
white photo; she was
19, or so; already the mother
two children—my sister, Sandra, and my brother,
Page 62: Here is another drawing of a piece of sculpture that
could only exist as a drawing; the Donald
is obvious. Some years
later, I would "walk into," literally, a Richard Serra
installation at the
Khroler-Muuler Museum in Holland. From that moment on, he
became a hero of sorts for
Pages 63-67: Just
as I had tried reconfigurations of the
image of the
Crucifixion, I also attempted the same
with the Resurrection. Here are just a few abstract sketches:
Christ rising from the tomb.
Page 69: I
see this beaten down, self-defending figure
in my sketch books
when my "Errors" are starting to
become something with which
had to deal, usually by leaving.
After living in
Rome, Georgia for a couple of months,
we moved to a small house in Armuchee,
often rode with Tom to Mt. Berry College. I
became acquainted with some of the art students there as well as
Tommy Mew, the head of the art department and an accomplished