Berlin Drawing Room Blog: charcoal

Last Monday I visited Dave Hedderman, the current Portrait Drawing Intensive instructor with Berlin Drawing Room, in his studio and I rediscovered the breathtaking power of figurative works done right. I also had the rare chance of getting to know a very accomplished, yet modest, painter.

Dave teaching the Portrait Drawing Intensive in his studio

As I walked into the typical “kreuzberger Hinterhof” and went upstairs to the tucked away ¾ Studio I had mixed feelings about the building, which in spite of preserving its sloppy altbau charm, has discernibly been caught in the wave of massively accelerated gentrification of the neighborhood.
My concerns of finding yet another hipster co-working space were quickly wiped away as I walked in on Dave painting a big canvas entitled “X” and took a first glimpse at the studio. What a refreshing feeling it was to discover an actual place of work where objects exist to be put to use, as opposed to sitting around for decorative purposes.

Dave’s studio is light and spacious. New oil paintings in progress, old works pending revisitation, archive material and drawings from his life drawing sessions hang on the walls, framed by large music speakers, amplifiers and an electric guitar. The first thing that slips out of my mouth, as I discover the camping cooking plates and the folded mattress: “I could so easily live here!” – to which Dave responds with a chuckle.

'untitled'-2016 112x112cm. oil/charcoal/linen

What was meant to be a short interview turns into a long, pleasant talk sitting by the window, sipping coffee and smoking cigarettes whilst debating life in Berlin, the struggles of being an artist and life altogether.

I keep observing everything around me, mesmerized by the quality of Dave’s work – to which his online portfolio does absolutely no justice. The comforting vibe of the space, like its owner, has no presumptuous sides to it.

Dave tells me about his notes to self and the diaries of his work process as he points at some notebooks on the floor. We talk about his beginnings and academic training, his experiences as a teacher and his initiations at writing.

When I ask him about possible inclinations on inspirational sceneries he paints a vivid mental picture of a Dublin concrete pier in the late evening, but also mentions some distinct situations he’s observed in the Britzer Garten in the summertime (an old lady getting her wheelchair stuck in the loam in an attempt of properly smelling a flower). He proceeds to show me some pictures of random daily encounters he’s taken with his smart-phone and printed out on paper, one of them being the source of inspiration for his current work in progress. Dave explains, “this is technology serving me. I couldn’t capture the nature of such fugacious moments anyhow else”.

“So why portraits?” I ask him.

Dave: “I think there are so many themes in us people that one could explore that throughout a lifetime and still not get enough. Also, observing others with the purpose of drawing them is a much different experience of looking from the one we get out of common social interactions: I often find myself somewhat transported by that, in some kind of a meditative state whilst drawing even, which becomes a great way of looking at myself too. So I guess that’s it; people I can simply express myself through.”

Portrait Drawing Intensive at Dave's studio

Portrait Drawing Intensive, students at work.

Interview and article by Cora Marin, Berlin Drawing Room Intern

Dave Hedderman is a figurative artist and arts educator, with a focus on the human form. He received his B.A. Degree in Fine Art from the NCAD, Dublin, Ireland in 2005. He was the 2015 recipient of the Hennessy Craig Scholarship, awarded for his contribution to the 185th RHA Annual Exhibition. His work has been featured in numerous group and solo presentations in both Ireland and Germany.
He teaches the Portrait Drawing Intensive as part of the Berlin Drawing Room team, as well as weekly life drawing classes.

Davehedderman.com

John Singer Sargent (1856-1925) made hundreds of rapidly drawn charcoal sketches of society personalities, drawings he referred to as "mugs." He made these in response to a high demand for his work. Not being able to satisfy all with oil paintings, he satiated his sitters with quick charcoal drawings.

These portraits are mostly of wealthy patrons, although sometimes he would make exceptions. But that is already a much wider pool to draw from than his biggest influence and predecessor Velázquez, who only painted royal subjects.

These "mugs," like a facebook profile picture, should be seen in a social context just as much as an art history context. Sargent not only captured a likeness of the sitter, but created a portrait of a social milieu, the decadent Edwardian high society.

I wish I could know more about some of the individuals in these drawings, and what was going on around them at the moment these drawings were made. For example, the striking portrait Vaslav Nijinsky in costume for the ballet 'Le Pavillon D'Armide' at the Ballet Russes. Nijinsky has an incredibly heartbreaking life story, despite his major talent. Read about him at this link. http://en.wikipedia.org/wiki/Vaslav_Nijinsky

Portrait of Lady Elizabeth Bowes-Lyon

Portrait of Mrs. George Swinton

Portrait of Viola Tree

Portrait of Eleonora Randolph Sears

Here is a link to some wonderful biographical information and details of Eleonora's sitting with Sargent. In this case, Sargent requested her to to sit for a drawing because of her extraordinary personality. http://kihm2.wordpress.com/2007/10/23/sears-by-sargent/

Portrait of Vaslav Nijinsky

One portrait we do have a sensational back story on is the infamous Madame X. Virginie Amélie Avegno Gautreau, did not commission this portrait. She was pursued by Sargent who wanted to create a masterpiece for the 1884 Paris Salon.

"The model was an American expatriate who married a French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. She wore lavender powder and prided herself on her appearance." (Wikipedia)

Once unveiled, the portrait was met with critical hatred. Gautreau, without lending her name to the piece, was unmistakable with her strong features. The criticism was a combination of revulsion at the painting and revulsion at the perceived vulgarity of the subject. A woman who would sensationalize herself for social promotion, or so it seemed. Gautreau was disappointed and humiliated that the masterpiece she believed herself to be contributing to was such a critical disaster, and that not only the painting but her character were being criticized. Sargent tried to make amends by repainting the shoulder strap of her dress in an upright position, it was originally off the shoulder. This painting can currently be viewed at the Metropolitan Museum in New York and is now considered widely to be his greatest achievement!