Far from the Madding Crowd

“Far from the Madding Crowd”
coloured pencils and oil pastels. 330 x 365 mm. October 2017

If you have been to Paris, you know what Cathedrale Notre Dame is like.  Its magnificence makes it a magnet for tourists.  Endless queues snake towards its doors as people wait to go inside and up the tower.   Like all great world tourist attractions, it is a place to steadfastly avoid.

Only five minutes’ walk from the maelstrom of humanity, across Pont de l’Archevêché and down on the riverbank of Port de la Tournelle, all is serene.  The view of Notre Dame is sublime, the river Seine quietly flows, minding its own business.

So few people walk by that I have to wait patiently to compose my source photo for the drawing I want to do.  Finally a few pedestrians come into view and I have my composition.

I give a prayer of thanks.


8 thoughts on “Far from the Madding Crowd

    1. juliepodstolski Post author

      I didn’t know if I could, but I DID IT, Gina, and truly enjoyed the process as well. I thought it might be boring drawing Notre Dame but it was actually fascinating and fun.

  1. anna warren portfolio

    By the careful way you compose your image you take this so-familiar edifice and make it fresh. I can see exactly why you waited so patiently for passers-by, without them it would not have the same character. The dog especially is a vital ingredient, with the light falling on the river wall and highlighting the cathedral walls it gives a sense of joy. Because of the colours in this drawing it is very different from the others in the series, yet stylistically it is absolutely one with them. The soft/crisp edges are uniquely your work, and are very engaging.

    1. juliepodstolski Post author

      I must say, I was excited to see a dog coming into view. It was rather a naughty dog too. The lady owner seemed to not be able to control it. It was jumping up and being awfully fussy. Even in my drawing the lady is unable to move forward as she seems to be tangled up in her dog.
      I loved working on the sky, Anna. The addition of oil pastels in the mix means that the process is much more like working with oil paints than simply using pencils alone. Suddenly I’m a fan of big skies.


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