We doodle, we fiddle and we play. Here are some stuff from our sketchbooks...

Francois Smit

Francois Smit

Friday, 02 January 2015 07:08

Alexander Bay

Photos of Alexander Bay where I grew up. And also on the way - Norhern Cape, Port Nolloth and new year's day in McDougall's Bay.
Gallery below...

Tuesday, 23 July 2013 21:07

Brushes and Tin

Brushes and green tin. Oil on board. 350 x 450mm. Work in progress.

Saturday, 09 May 2015 17:48

Postbox

Postbox in Louis Botha Avenue.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Saturday, 25 April 2015 13:56

Teapot

Teapot.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Saturday, 25 April 2015 13:55

Tabasco

Large Tabasco bottle.
Drawing on mobile phone with Samsung S-pen. 1477 x 2560px. Francois Smit.

Saturday, 25 April 2015 13:53

Valerie seated

Valery seated.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Saturday, 25 April 2015 13:52

Man with hat 2

Man with hat 2.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Saturday, 25 April 2015 13:50

Man with hat 1

Man with hat 1.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Below, a version earlier-on ...

fred1

Saturday, 25 April 2015 13:38

Colchicine

Colchicine and Prednisone.
Drawing on mobile phone with Samsung S-pen. 2048 x 2560px. Francois Smit.

Saturday, 10 September 2011 05:44

This is not a Ripoff

Cover illustration for Art South Africa. Art, non-art and Zulu Dada. The Tretchikoff Conundrum.

The article, titled The Tretchikoff Conundrum and written by Karin Preller, took a look at the critical response in the media and the art world. Here is a short excerpt:

"Humour is a feature of many reviews, mainly as a vehicle to express extreme distaste. Pollak describes Tretchikoff's animal paintings as "riddled with paralysis"; the portraits as evidence of "his mortician's brush imbuing every sitter with rigor mortis"; his technical ability a fallacy "to be viewed with the gravest suspicion" – grass looking like "fried parsley", fur "as tough and abrasive as a new doormat". The list goes on, but Pollak's conclusion is that Tretchikoff's work remained "static and intellectually null".7 In a review on ArtThrob Sean O'Toole focuses on the hype of opening night, eventually linking the work with the sugary snacks on offer: "The painter is really a pastry chef. His specialty is cupcakes and alluring tartlets. I pause in front of a marshmallow that pretends to be a layer cake. It is nominally a still life."8 On a more serious note, O'Toole finds the work "beyond criticism", implying that any kind of critical academic rereading of Tretchikoff would be pointless."

artsa cover

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