Monday, March 23, 2015

Emma As Olympia, In Stages

I always like to photograph my life paintings at various stages.
It is useful to chart your progress and to see where sometimes you might have gone wrong.
Very often it can also show you the point that you probably should have left off painting, which is always difficult to call.
Here's a set of Emma posed as Olympia. (please excuse the green tinge some of them have)




http://pjlynch.bigcartel.com/product/painting-the-nude-figure-from-life-with-pj-lynch

Wednesday, March 18, 2015

Painting The Nude Figure From Life

I'm very excited about my first workshop in the Back Loft. 
It's a lovely roomy and atmospheric venue to paint in.
Click on the link below for more info or to book a place.

I look forward to seeing some of you there on the day!
http://pjlynch.bigcartel.com/product/painting-the-nude-figure-from-life-with-pj-lynch

Thursday, March 5, 2015

PJ at the University of Ulster Festival of Art and Design in Belfast

Next Wednesday the 11th of March I will be doing a talk and a demo at the University of Ulster Festival of Art and Design in Belfast.
Many thanks to my pal Julie Douglas for asking me to take part.
I hope to see some of you there.
http://www.ulsterfestival.com/pj-lynch.html

The blurb says "PJ Lynch is an award-winning illustrator. He is a passionate advocate of good drawing in all its forms, and in this session he will discuss what drawing means to him with reference to his work as an artist and illustrator. During the session he will paint a portrait in oils."

Tuesday, February 24, 2015

Sebastian Walker on Radio 4's "Great Lives"


When I am well into a piece of work I find that listening to an audiobook or talk radio is ideal for me, and the BBC iplayer is an extraordinary resource to explore. I recommend it to any one.

I was going through the archive of  Radio 4's "Great Lives" when I was very pleasantly surprised to see that my late publisher, Sebastian Walker, was Lynn Barber's choice of a great life.

Sebastian died a good many years ago, but it is true to say that he revolutionised the publishing of Children's books. It's telling that both of the programme's contributors, Lynn Barber and Sebastian's sister Mirabel Cecil, both point up the great importance he placed on the work of his illustrators.
I consider myself hugely fortunate that I was one of those illustrators.


Wednesday, February 11, 2015

The Gord & Jay Talk Art Podcast

It's great to get really positive feedback from my workshop attendees, and here, Jay, who attended my last workshop, talks in his podcast about some very concrete benefits that he felt he gained from my class. The relevant piece begins at 42 minutes into the podcast entitled "Discipline", but the whole thing is really interesting. Many thanks Jay.
https://itunes.apple.com/…/the-gord-jay-talk-a…/id929963389…
I'm looking forward to a workshop at Kennedy Art on Saturday.

 Here's my demo of Des from a few weeks back.

Friday, January 23, 2015

A Death-Defying Love: Versions of the Orpheus Myth



Tim Myers has written a very thoughtful piece on versions of the Orpheus myth for the Los Angeles Review of Books. I am thrilled that  he has particularly singled out my image which was designed for the poster  promoting Opera Ireland's production of Orpheo Ed Eurydice at the Gaiety in Dublin.

You can read Tim's piece here, but in the meantime, here's an excerpt.
"Many visual artists, of course, have taken up the story too. Nineteenth-century French artists have been, to me, especially successful. Among superb renderings by Charles Jalabert, Francois Lafon, and Pascal Dagnan-Bouveret, I find those of Francois-Louis Francais, Jean-Baptiste-Camille Corot, and Edmund Dulac to be especially moving. (There’s also a surprisingly forceful black-and-white contemporary version by a concept artist and illustrator called STALEH4ND.)
But in one contemporary image, a 2004 poster (see illustration above) done by Irish illustrator P. J. Lynch for Gluck’s opera, I found a deeper way to understand the story.
Lynch exemplifies how some interpretations, working with rather than against the story, can be revelatory. For he, like 18th-century Danish painter Kratzenstein-Stub and 17th-century Italian painter Varotari before him, gives curvilinear movement to the moment of the turn. Eurydice, veiled in voluminous shroud-like white, reaches half-skeletal hands toward Orpheus; we can almost hear her anguished howl. Inches away, Orpheus simultaneously reaches for her even as his eyes seem to register the futility of it all — for without her he’s as much a dead soul as she is, even in the living world.
And yet they see nothing in the universe except each other. And the sinuous lines of their bodies, their clothes, even of the cavern-mouth itself, wordlessly sing of a oneness of life and death beneath their present helplessness. That power, of course, is love, greater even than the astonishing power of music that gave Orpheus entry into Death’s kingdom to begin with. This is sacred mystery at its highest level, and Lynch’s understated impulse jibes perfectly with what we all feel beneath our vicarious heartbreak in that moment."

Tuesday, January 20, 2015

Checking The Proofs of New Book


It's so good to finally have the proofs of my new book on the Mayflower and the Pilgrims.
It's starting to look like a real book!