Bus sketch'es 1.2.3.4.5.

[eighty+]

Hail O Caesar O Mighty One Thanks for the Links I found Incenzo Gemito of the statue I didn't know who by ok I like the Brass Ball but would B one hell of

a job to do may be when I'm Older and had more Practise and in a Mad moment I might TRY Ok this last one Offered BY Capt'n Mac was Very hard to do

Promethius ok CIAO STATTE BBUONO Si Si SLAINTE ........................POZDRAWSKI

[D Akey]

Good one Mr Ploos! Now in keeping with the legend, you need to paint it all over again. And when that one's finished, do another and another. . . 'till Zeus himself decides to stop eating Prometheus' liver and switches to haggis, oh aye.

Fine job, matey! You seem to be collecting a whole passel of marbles. And you're a right fine shooter.

PoseDrawSki! y ¡Vaya con polished marble!

[D Akey]

I must say that as a sculptor-painter You are fantastic almost as Bernini, dear ATPlus! He was great since 21, You still are past 85 and learning very late and by Yourself!

Dear DAkey, I only had the pleasure to assist to many sudden or unexpected discoveries and re-evaluations of several artists who became obscured in certain periods or just by being in the wrong place at a certain time. Just consider the great Japanese masters discovered by western art in the second half of the XIX century.
In the XX century, just to avoid too recent times when all is far from settling, economical and market power, elitarian or powerful circles, political and ideological factors, psychology, areas and boundaries etc. in an exponentially grown offer and, often, in a wide or vague definition of what art was and made of, influenced very much the critics and the rankings creating some absolute superstar and some fades. Just think that, as far as I learned, if I understood it, Singer Sargent (a painter I absolutely love) is today at far lower prices than at its martket acme.
Nonetheless sculptor like Paolo Troubetzkoy, Vincenzo Gemito, Medardo Rosso in the impressionist age, later XIX, Amedeo Modigliani across the XIX and XX, Lucio Fontana, Umberto Boccioni, Giacomo Manzù, Pietro Cascella, Arnaldo Pomodoro in the XX century, all highly famed artists, would have collected an even far greater fame somewhere else. I already showed You the same phenomen for painters who, in some case grew very much in interest and fame also abroad and were hardly know and with little or no international resonance.
Having said that no issue for me to celabrate as absolute masters and top class sculptor people like Auguste Rodin or Henry Moore. I'm sure there are many other outside my national boundaries I would love and who are somehow put aside by the official critics gotha. Quality, quantity, price and fame are sometimes not necessarily highly correlated aleatory variables alas, although places with more economical power are often where art is more appreciated, supported and marketed.

The internet is a wonderful resource, both for feeding us facts, but also for bring to our attention artists otherwise missed.

I agree that it's curious how some really good artists escaped fame in the past. I believe that's in large part a matter of commerce. Often times it was merely a matter of who commissioned the work, where it becomes a symbol for their cause as with the Church or State or Aristocratic Family. Notoriety comes with that venue because the art and artist becomes synonymous with the patron -- sometimes it's the patron who becomes famous on the heels of the artist's fame -- depending on who's more famous at the time.

But other than that, fame and recognition of an artist is a matter of someone building the artist's significance, most often as an investment. Such manipulation is done all the time in every sector of any market. But still, it's a lovely thing to think in terms of the old artist's battle cry: Art for Art's sake.

Most working artists I encountered saw Art as a business and the more successful ones promoted themselves and cranked out art like any other manufactured product. Some even outsourced the work and they took the credit and the lion's share of the money because they had built the name. Sounds crass perhaps, but in doing all that cranking out, if they did it themselves, they got really practiced and adept at what they did with technique that was beyond reproach. And if they didn't do it themselves they maintained quality control over the people doing their work.

Having said that, one can focus on technique and get really good at it, and infuse it with great concepts and may perhaps never get seen. And the internet is the best thing ever for exposing pure artists who may not have been so good at promoting themselves. And thus we are far richer as a culture for being able to find those works and be moved by them. And because of the broad visibility for anyone who simply searches the internet, all artists everywhere get to grow and evolve together.

[eighty+]

Hi A screen Shot ?? OK Whatever that means CIAO IVAYA CON DIOS SLAINTE ........................POZDRAWSKI

[eighty+]

hi I should b in Bed ok CIAO IVAYA CON DIOS SLAINTE ....................POZDRAWSKI

[eighty+]

Hi at rest so a quick easy one today ok CIAO IVAYA CON DIOS SLAINTE ..................POZDRAWSKI

[D Akey]

Great stuff, Mr Ploos. Ye stayed up late to work on your masterpieces.

If I understand your comment: A "Screen Shot" is generally when someone captures the whole screen as a picture file - a what you see is what you get kind of affair. The resolution is often smaller than a higher rez pic, meaning the detail is not so crisp. But for the image you drew, you didn't need a lot of detail since it looks like a broad drawing and it all fits in without too much loss.

Anyway, looks like the lad spent the night in a haystack. Mind the pitchfork!

[eighty+]

Hi Capt'n Mac I'm ok CIAO IVAYA CON DIOS HASTA LA VISTA SLAINTE POSDRAWSKI

[eighty+]

Hi sorry I'm Late To much Football ok CIAO IVAYA CON DIOS SLAINTE HOO ROO ................................POZDRAWSKI

[D Akey]

Did his mum drop the poor sot on 'is 'ead? Cor blimey! Or they opened 'im oop in surgery lookin' if 'e 'ad all his marble.

Good stuff, Mr Ploos! Ye even included a fresco done by that great Italian sculptor. Is it the Sybil? One of them there pagans from the Roman times.

Personally, I think some of the last ones Caesar sent you were not particularly fit for drawings. You could lose the form in trying to do the irregular surface texture. Which is why the more realistic stuff would probably suit what you're doing a little better. But up to you.

I really like the last one of the lad with the cracked skull. Very good details held in good proportion.

Go man go!!!!!!!!