But I want to keep you visiting here and I'd like you to feel that's worthwhile. . . So I'm offering you this page from my wee sketchbook, as sketched standing at the top of a hill on the Roger Lapébie cycling trail within a kilometre of our goal, the Wednesday market at Créon (watercolours added back at our Bordeaux "home"). My bike lies on the grass next to my feet -- it wouldn't stay upright on its kickstand on the uneven shoulder, and I lost patience.
They're the same horses I tried sketching our first trip to Créon, here, and again on our second outing, they moved too much, not very co-operative models. Even if they'd stayed still, let's be honest, I doubt I'd have captured a likeness. A memory, at least, though. . . . .
I'd by more shy about sharing these images with you (she's sketched those horses again? And they still don't look like horses!) except that the other day, checking my Twitter feed, I spotted a Tweet by illustrator Marilyn Naron which linked to this New Yorker article (by Emma Hunsinger) about drawing horses. . ..
And it's about drawing horses, yes, but it's about so much more, and it's sweet and brilliant and poignant and funny, and you can come back and thank me when you've read it. Or not, but I hope you enjoy it. I loved it completely. . .
You might know from Instagram that I also loved the Sempe exhibition we saw in Bordeaux last week (so weird to say that, the weirdest part of travel, the way it disrupts all the normal expectations of space and time, and then the rift begins healing, closing, as we settle back into our own places, places where one isn't in Bordeaux last week). Anyway, as much as I loved that exhibition, was impressed by Sempe's gentle, wise, insightful, modest humour and delightful illustration, I couldn't help but wince at the cartoons which seemed to accept the casual sexism of his time. Cartoons that replicated rather than challenged the easy mockery of women and our supposedly silly concerns, propensity for gossip, shallow avidity for clothes or shoes. . . .
|He's so iconic, is Sempé -- the day after viewing the exposition of his work in Bordeaux's Musée de Mer et Marine, we walked past this Morris column advertising the New Yorker magazine via an image of a Sempé cover illustration. . .|
So to see, in the same New Yorker that so regularly hosted Sempe's work, a 20-something woman telling a gentle story about a young girl learning to draw horses -- and shyly, slyly, telling a whole other story about growing up and gender and sexuality --- well, that was a very lovely counterpoint, and one that -- having just traveled across nine time zones to see art and cartoons on far-off gallery and museum walls -- I was able to enjoy at 1:14 a.m. in the comfort of my own home, thanks to the wonders of social media.
Where I get to chat with you as well.
Which we can do soon, but meanwhile, I have a list to work on -- what do you think I'll start with? the gym workout or the breeze-kissed couch-reading?