Contemplation, 2020
Patrick Palmer
Conte on paper
Original Artwork, 45 x 60 cm
Figurative Art by Patrick Palmer
Expert's
Perspective
Patrick Palmer is a figurative artist based in London. He is all about capturing the female form - subtle, classical nudes in oil, charcoal, graphite and red chalk, images emerging out of nowhere and escaping gracefully into life to tell a story. All emotions are expressed through posture and detail, happy or sad, wild or calm, seductive or hopeful.
He chooses along the way what parts of the body are important to fill in and what to omit, that's why every piece of his art is unique, authentic and minimalistic to its core. The passing of time forces improvements in almost all aspects of life, the missing body elements of almost every painting convey this message directly to the viewer's psyche. Besides the less is more principal.
Patrick's distinctive style of incompleteness is his way to interact with people who see his work, by giving them enough information sets them free to fill the blank parts. He is very spontaneous and at the end of each day he uses up all his leftover paint on experimental canvases, with no restrictions applied, just playing and experimenting.Kelly Kaimaki, Creative Writer / Curator
About Patrick Palmer
Generally considered one of the UK’s leading figure-artists, specialising the female form - subtle, classical nudes in oil, red chalk, graphite and charcoal.
My work has been included in the books ‘Images of Women in Art’ and ‘Musings of Miss Yellow'.
As well as being a stay-at-home Dad, I now paint from my Windsor studio and run my own life-drawing classes at the Windsor Art Centre.About the Product
Original red chalk drawing (very nicely framed).
Sanguine or red chalk is chalk of a reddish-brown colour, so-called because it resembles the colour of dried blood. It has been popular for centuries for drawing (where white chalk only works on coloured paper). The word comes via French from the Italian sanguigna and originally from the Latin “sanguis”.
Many of the old masters used red chalk but it seems to go have been rarely used of late. I have been using it for about 10 years and love the effect and colour.
I love the emotion in this pose and have tried to simplify it down to its very essence - less is more.
If I'd filled it all in, the lower, less-important parts would compete with the focal point (largely the facial expression, and mood conveyed through the entwined pose). The eye is drawn to the face, and the brain (having been given enough clues) fills in the rest.