S: PENCIL, PAINT and PEN - by Everett R. Garrison
FC: PENCIL, PAINT and PEN by Everett R. Garrison
1: PENCIL, PAINT and PEN by Everett R. Garrison | A collection of artwork and a few poetic verses from roughly 1965 through 2012. This book was produced mainly for the enjoyment of my family and friends and also to leave a compilation of works representative of a pastime that has given me so much pleasure over so much of my lifetime. Also, I would be remiss not to give thanks to whatever powers that be which may have endowed me with such talent, limited though it may be, as to enable me to indulge myself in these endeavors over these many years E.Garrison, 2013. | All rights reserved. No part of this book may be reproduced or utilized in any form or by any means without the expressed written permission of its author or his immediate family. Inquiries should be directed to Everett R. Garrison, 1818 Cantrill Drive, Lexington, Kentucky, 40505.
2: Pencil, Paint and Pen
3: This book is a compilation of my various artistic and a few literary endeavors dating from the early 1960's to 2012. By no means a schooled professional artist or writer, I have nonetheless been privileged to possess a certain degree of talent for painting, drawing and, to a lesser extent, writing, that would seem to exceed what most might consider as normal. Perhaps it may be hereditary inasmuch as my mother was very artistic. My two brothers, my son and my daughter are also very talented in drawing and painting. My older brother, James, is an especially gifted artist, excelling in both oil and charcoal portraits. | In any event, this skill set has opened many an interesting door in my life's journey that may have otherwise remain closed to me. However, I purposely avoided taking myself too seriously in these undertakings. That might have taken the enjoyment and satisfaction out of them and made them more like work. And, sadly perhaps, I really don't enjoy work that much. Nevertheless, on more than one occasion I did explore the commercial aspects afforded me by this talent. I marketed two limited edition prints with some success and did several commissioned oil portraits. The portraits I always did on the condition that, if the client was unhappy with the finished work, they would not be charged and I would retain the canvas. Happily, I never had a portrait rejected, although this could have been due to the kindness of the client. All of that being said, it is my hope that this small collection of works will be something my family and friends, both present and as of yet unborn, might enjoy and cherish for years to come and for years after I've long since departed. I must here confess to a certain degree of vanity and hope that the words of Longfellow might in some small way apply to this endeavor: "And departing, leave behind us Footprints in the sands of time." With that thought in mind, I wish to dedicate this book my children, James Tilford and Laura Kate, and to my lovely wife Susan, who encouraged me to produce it. | Everett R. Garrison
4: An Indulgence In History | The American Civil War
5: This section consist of paintings and drawings which stem from my early interest in American history, the Civil War in particular. None of these works were commissioned pieces. I did them just because of my interest in the subject in general and to a great extent because of the many colorful figures produced by that conflict. Two of the paintings found here I did reproduce and market as limited edition prints. They were the portrait of J.E.B. Stuart and that of Presidents Abraham Lincoln and Jefferson Davis. This venture was moderately successful and the prints enjoyed wide distribution throughout the United States and even a few in Canada.
6: Painted because he seemed worthy of painting. A true gentleman warrior, if there can be such. Admired and respected by both friend and foe. Oils on stretched canvas. 20x24 | My first effort at this type of compositional portrait as opposed to the traditional head and shoulders. I marketed limited edition prints of this with some success. Oils on canvas board. 18x24 | Gen. J.E.B. Stuart, CSA | Gen. Robert E. Lee, CSA
7: One of Lee's favorite and most competent officers. I painted this one mostly because I liked the black and white photo in one of my books. Oils on canvas board. 16x20 | The Thunderbolt of the Confederacy. Some maintained he was more dash than fight. Whatever the case, he kept Union troops busy guarding their rear throughout the war. Oils on stretched canvas. 16x20 | Gen."Stonewall" Jackson, CSA | Gen. John Hunt Morgan, CSA
8: The House Divided Abraham Lincoln and Jefferson Davis | Oil on stretched canvas. This work featured Lincoln and Davis, fellow Kentuckians, on the same canvas, symbolizing the stark divisiveness of the American Civil War. This work was marketed as a limited edition print in the 1980's.
9: Both of the above - Oil on small canvas boards. These pieces were done as studies for the piece on the opposite page. I had planned to do it in full color using layers of tinted transparent glazes. However, I changed my mind and decided to market The House Divided print in its monochrome state. | Lincoln | Davis
10: Abraham Lincoln Pencil sketch | Jefferson Davis Pencil sketch | Gen. T.J. "Stonewall" Jackson CSA Pencil sketch | Gen. Nathan Bedford Forrest CSA Pencil sketch | Gen. Nathan Bedford Forrest CSA Watercolor My first and last attempt at watercolor portraiture. I discovered that I always tend to try and treat watercolors as though I were painting with oils.
11: Pen and ink on paper The drawings on the piece to the right show General Robert E. Lee at various stages of his life. I drew these in ink on the same paper simply for the challenge of not having any margin for error. I even went so far as to forge Lee's signature. The top right is Lee as a young captain in the Union Army. The top left and bottom right show him at the apex of his military career as general of the Army of Northern Virginia in the Confederate Army. The bottom left shows him as president of Virginia's Washington College, soon to become Washington and Lee College after Lee's death.
12: A brief musical interlude | Of the many classical composers I admire, the two featured on the opposite page are the only two I seemed to have bothered to paint. Although, I do seem to recall doing an oil portrait of Herr Mozart at about the time I was painting these two. But alas, my memory has now failed me and I fear that that particular work is probably lost forever.
13: Below - Oil on canvas board. Done in the early 1970's from a picture on an old LP record jacket. Possibly my second attempted portrait. | Johann Sebastian Bach | Above - Oil on canvas board. My very first oil portrait. Done in 1974. Also my first hero of classical music, thus inspiring the portrait attempt. Done from a black and white image on an LP record jacket. | Ludwig Van Beethoven
14: Som | A collection of portraits, some in oils and some in acrylics, that I have done over the years. One may notice a learning curve at work here inasmuch as I am mostly self-taught and my painting style keeps changing a bit with each new work. Some of these were commissioned, some were done as a favor to friends or family and some were done simply because I felt like painting them. | The portrait at right represents one I did just because I liked the mood and the shadows. The lady in the portrait is a very talented artist living in Thailand. It was done in oils on a small canvas board. | Portraits of Friends and Family
15: Donna | Laura Kate | Oil on canvas board. Done from a candid photo. The mood and the pose called for a type of portrait that, as of that date, I had never attempted. Done in the 1980's I believe. | Oil on stretched canvas. An unfinished portrait of my daughter. She doesn't like it, and with good cause, I might add. I can't seem to get it right. Maybe I'll just start over.
16: Below. Oil on stretched canvas. One of my children's cousins. Done from her high school senior picture in the early 2000's. | Above. Oil on stretched canvas. Bob was the city manager at Paris, Kentucky, and one of my co-workers when I worked there. He ask me to do this portrait of his two sisters and him as a present to his parents. While doing a passable job on Donna and Bob's portrait, I was never quite able to capture Patti's likeness (on the right) to everyone's satisfaction, including mine. | Donna, Bob and Patti | Suzi
17: Libby | Darlene | Oil on stretched canvas. One of my earliest oil portraits. Done in the 1970's. This is the only time I used an old method of priming the canvas. Rabbit skin glue, formaldehyde and white lead-based paint. Maybe not my best portrait but certainly my best canvas. | Oil on stretched canvas. Commissioned work. The wife of one of my co-workers at the City of Paris, KY.
18: Oil on stretched canvas. Rea Jean is a former director of the Paris/Bourbon Co. Chamber of Commerce. This portrait was commissioned by a Paris City Manager whom she later married. This was my first attempt at lace and sheer material. Came out so-so but was fun to try. | Oil on stretched canvas. Laura is the daughter of a department supervisor at the City of Paris. This was the first composition piece I had ever tried (chair, flowers, table, etc.). Apparently got into my head and blocked me. Took four years to finish. | Rae Jean & daughter | Laura
19: Oil on stretched canvas. Mr. Marcum was a past president of the Bluegrass Federal Savings and Loan in Paris, Kentucky. This portrait now resides in the boardroom of that place of business. | Oil on stretched canvas. Beth is the daughter of my good friend from high school, Jerry, and his wife, Nancy. As one can see, it remains a work in progress. | Fred Marcum | Beth
20: Oil on canvas board. Silas was my great grandfather on my mother's side. He lived in Lexington, Kentucky. | Silas Morgan | Some portraits in progress | Oil on stretched canvas. One large and one small canvas. I enjoy taking photos of my paintings as they progress. It helps me sometimes to see how I'm doing.
21: Pencil on sketchpad. A cousin on my father's side. I particularly enjoyed doing the hair in this one. | Pencil on sketchpad. Another cousin on my father's side. Not one of my better efforts. It doesn't nearly do Erin justice but will do for now. | Jessica | Erin
22: Self-portrait | Acrylic on canvas board. I believe this was from a photo of Kennedy signing papers pertaining to the Cuban missile crisis of the early 1960's. | Acrylic on canvas board. Done in the late 1960's. Apparently experimenting with the darker side of Impressionism. | JFK
23: Various Works in Various Mediums | This section contains, as its title suggest, various subjects in various mediums. Watercolors, oils, acrylics, pen and ink and charcoal are all represented here. Animals, still lifes, war and civil unrest, religion and romantic fantasy. | The picture on the left is a watercolor I painted using items from my mother's and my grandmother's kitchens. Appropriately, it was painted at my mother's kitchen table. It helped to pass the time while I was caring for my mother during her long illness that was to eventually take her life in the winter of 1977-78. | Kitchen Still Life
24: Watercolor on paper. American Bald Eagle from a b&w photo in the newspaper. At that time I was trying to use watercolors like oils. It turned out okay anyway. | Oil on stretched canvas. This is Sadie. My friend Jerry's daughter's pooch and family friend. This was also my first attempt at painting furry animals. I think I should keep to people portraits from now on.
25: Right. Acrylic on canvas board. An out-take from Knight, Death and the Devil, a 1513 engraving done by the German artist Albrecht Dürer. I omitted the Devil, which would have been behind the knight. Just too ugly . | Left. Oil on stretched canvas. Just having fun, especially with my pallet knife on the mountains in the background. If I ever win the lottery I may build this someday.
26: Acrylic on canvas board. I think this was a statement on both the glamorization and futility of war. Several of my pieces from the 60's and 70's dwelt on that theme it seems. | Ballpoint pen on sketchpad. Death issues his orders to kill as he rides across the sky over the battlefield. In this drawing there was no research done to assure the correctness of the armor or weaponry. It was done simply from my best recollections of pictures I had seen representing that period of history.
27: India Ink and crow quill pen on cardboard. The killing of the innocents. A fully armored knight slaying a defenseless man. The similarity between the man being killed and Jesus is purely coincidental. If I had meant to convey a religious message I would have used a Roman soldier rather than a European knight. | Ballpoint pen on sketchpad. The romantic side of medieval times. The knight seeks the favor of the fair maiden. Had I more room I may have included a slain dragon.
29: Above - Some old practice sketches I did from an art book of anatomical drawings. These were done in charcoal. Opposite page - More anatomy studies and some on shading garment folds. I can't be sure now but I believe I copied these from a book I have on Michelangelo. | Above - A sketch I did (in pencil probably) of a friend whose face I borrowed to use as an example of how to draw a portrait. At the time I was teaching an adult education evening class at a local high school. I learned from this class that I wasn't cut out to be a teacher.
30: These World War I vintage aircraft were sketched from memory on a bank desk pad using a ballpoint pen. The one on the right seems to have sustained some coffee damage, an ever present danger in the office workplace. The aircraft themselves, as best I recall, are, from left to right, a German Fokker Eindecker, a German Halberstadt reconnaissance plane, a German Fokker DR-1 tri-plane and a British Sopwith Camel. My memory of the details of these planes was mainly the result of building plastic models of all four when I was a teen.
31: Left - Acrylic on stretched canvas - I don't know what caused me to paint this. All I can remember is that I was in college at the time during the early 1960's. I must have been going through a phase of some sort. Oddly enough, my mother seemed fond of it for some reason. She made a simple frame for it and hung it on the family room wall where it remained until she passed away. | Above - Acrylic on paper - Copy of the Oracle Sybil from Michaelangelo's depiction on the ceiling of the Sistine Chapel in Rome.
32: Acrylic on canvas board. A commentary on a nation divided by race and violence in 1970. This piece is rife with symbolism representing the competing factions. The nation USA in red, white and blue. The background in race pigmentation colors. The raised fist and date in stark black and white and the blood to represent violence. | Watercolor on paper. Another piece symbolizing the timelessness and destruction of war. Death moves his knight across the vast landscape in a never ending game of death and destruction. This piece was primarily aimed at the Vietnam War at the time.
33: Above - Ballpoint pen on paper. Another piece drawn for a church bulletin. It asks the question, "Which one are you?" Are you the one under the cross helping to carry the load, or the one standing by doing nothing, or the one leaning on the cross adding to the problem? | Left - Ballpoint pen on paper. This piece was done for a church bulletin cover. It represents the domestic and political strife of the late 1960's and early 1970's in our nation. The hand I copied from the hand of Jesus from Michelangelo's sculpture, The Pieta.
34: My pen and ink drawing of the old Cane Ridge Meeting House, located in Bourbon County, Kentucky. In early August 1801 as many as 20,000 to 30,000 people gathered here for a revival that became the defining event of the late 18th and early 19th century Western Great Revival period. I did this drawing in 1970 or '71 at the request of Dr. Hoke Dickinson, curator at the shrine at that time. He was to use it on the cover of a book he was writing entitled The Cane Ridge Reader. A photo of his book appears on the opposite page. Incidentally, copies of this drawing, which are currently on sale at the Cane Ridge Museum gift shop, were to become my most widely distributed work. Thousands have been sold and distributed all across the U.S. It should be noted though that I never received any remuneration for this drawing. I donated all rights to its use to the organization for preservation of the Shrine. | The Old Cane Ridge Meeting House
36: The top picture was done in pen and ink and is a drawing of a new fire station the City was preparing to build. The city manager ask me to draw it for use in the local newspaper as I recall. | The bottom picture is also pen and ink. It is of the old City Municipal Building. This too was drawn at the request of a city manager who wanted to use for a City budget cover. It was used for various other purposes later I believe. This building was used for City offices until May, 1994. As of this writing it currently houses the Hopewell Museum. | I was employed by the City of Paris, Kentucky, in an administrative capacity for just over thirty years before my retirement in May of 2007. The City officials were well aware of of my artistic abilities and utilized them on several occasions. The drawings to the left are but a few examples of some of the things I did for them. Pro bono, I might add. I might also add that I hate drawing buildings. Too many straight lines, sharp angles and vanishing points.
37: Left - Pen and ink on paper - Another church bulletin cover drawing. Judging from the snow and the star this must have been for the Christmas season. I don't know if angels have wings or not but I sure hope so because they are really fun to draw. I should point out that, although I am fairly comfortable with calligraphy in a few different alphabets and have done some Old English and German text in my time, the text in this picture is computer generated and not by my hand. | Above - Pen and ink and ink wash - A drawing of the North Middletown Christian Church in North Middletown, Ky. A church I attended for most of my life. I don't recall the occasion for my doing this particular drawing but the church has used it profusely on all manner of publications. It is currently being used on the church's letterhead and on their weekly newsletter.
38: Ballpoint pen on paper. Yet another church bulletin cover, this one for the Christmas season. It features an original verse I penned for the occasion. It reads: He who was born to die for us That we might see the way Is born again in someone's heart Each and every day. So, no matter what the year Or what the month or day, The moment Christ is born in you, That is Christmas Day.
39: Charcoal on sketchpad. A baby Robin who was kind enough to pose for me in my backyard some years ago. | Charcoal on sketchpad. An old fence post that I felt like I had to draw for some reason. Perhaps it was the timeless rustic quality it exhibits.
40: Oil on canvas board. Brush and pallet knife - This bleak landscape was done mainly to experiment with using the pallet knife on the mountains. In retrospect, the mountains were too pointy and the cabin was pretty amateurish. But, in spite of those shortcomings, several people seem to like it. Probably a mood expressive thing.
41: Water Under The Bridge | Cover drawing for a book written by Dr. William E. Davis, a physician whose practice spanned over decades in both the Congo region of Africa as a missionary doctor and in central Kentucky as a family doctor. He returned from the Congo to the U.S. in 1937 after spending ten years there. A distinguished and respected member of the medical profession, he penned at least four books relating his life's experiences. His time in the Congo was a featured story in Life Magazine. Needless to say, I was deeply honored when he asked me to illustrate his final two books. On the following pages I have included a few of my illustrations from his book, Water Under The Bridge.
42: Pen and ink - What Dr. Davis described as one of the marvels of his boyhood. "A squeaky, squawky phonograph with cylindrical records and a huge horn." | Pen and ink - A native witch doctor with some of the tools of his trade. Dr. Davis said they wouldn't speak to him.
43: Pen and ink - One of the village chieftains. | Pen and ink and ink wash - A native village hut. These, he said, were made of sticks and mud with thatched roofs.
44: Pen and ink - the Monkoto state house. | Pen and ink - Dr. Davis' home in Wema, Congo.
45: Pen and ink and ink wash - The jungle. Dr. Davis describes it most vividly in his book. | Pen and ink - View of the Congo River.
46: Addendum | It has always been my contention that many artists, that is, painters, sculptors and such, fancy themselves a master of the written arts as well as the visual. Despite the fact that most have no training at all in the field, they feel it is their birthright to hack away at meter and rhyme as though they were Shakespeare or Longfellow when, in fact, their efforts are more as though they were chopping down a tree. Well, I must confess to being one of those poor misguided souls subscribing to the unfounded belief that if one can paint pictures with a brush, should they not be just as adept at painting pictures with words as well? So, that being the case, I have chosen to torture more learned literary minds who may happen to read this with some poetic verse of my own, having been granted license due to the fact that I am a passable painter. I do, however, beg forgiveness from those that actually do know how to express themselves with the written word. ERG
47: James T. Garrison 1911 -1959 | The old home place on Hinkston Creek on Young's Mill Road in Bourbon County, Kentucky.