This painting will be sold in a live auction at The Art-Full Affair on Saturday, May 23, sponsored by the Arts Commission of Danville and Boyle County. This event raises funds for the McKune Scholarships, which make it possible for kids in our county to study the arts. Tom McKune believed that everyone deserved a great education, and that the creativity of kids should be nurtured by good instruction. I was lucky to know him as a friend, and as a colleague at Centre College. Tom loved helping others. It is an honor to give this work in support of the scholarships named for him.
The work has been beautifully framed, also as a gift for the auction, by Maple Tree Gallery. It is always a pleasure to work with my friends there, especially when we are contributing to a good cause.
I have just added nine works to the website gallery. All are portrait and figure studies. Eight are below. The ninth, an oil study in grisaille, was posted on this blog a few years ago, closer to when it was made. So I haven’t re-posted it here today. But if you want to see it, click here.
Jonathan Kamholtz honored me with an eloquent commentary in Aeqai Magazine on the drawing Solitaire. He was reviewing the exhibition, DRAWN, presented by Manifest Gallery in Cincinnati last month. I have excerpted it below:
Sheldon Tapley’s “Solitaire” is also highly finished, a study for a painting that he apparently decided not to paint. A young girl of indeterminate age has been building a house of cards, and has been cheating, taping them to each other. She doesn’t care, not about anything. Her profound boredom is pointed at the viewer as a sort of challenge which seems just on the verge of being translated into something sexual. Behind her, as if out a picture window, one of Frederic Church’s monumental paintings of the tropical volcano Cotopaxi is steaming up a storm, on the verge of an explosion of its own. On the table, beside the house of cards, lies an overturned gourd from which extends a wispy stem that might just be a fuse. Tapley has seen all the explosiveness woven into the traditions of baroque still life.
I realized after reading the review that I had unwittingly misled readers. My written statement for the exhibition seems to say that the drawing stood alone, as a study for a painting that was never made. I should have been clearer, since I did eventually complete an oil painting of the subject. That is shown below, accompanied by the statement I submitted.
This drawing was originally intended to be a study for an oil painting, but it became an independent work in itself. (The painting that evolved from this drawing is larger; it is now at an exhibition in the Evansville Museum, in Indiana, where I was once Artist-in-Residence.) The house of cards at the heart of the still life is held together with hot glue and masking tape: sloppy expedients that postpone its proverbial, inevitable, destruction. It was set up in my studio for more than a year. Card houses, and card games, have long been symbols of the vanity of human effort. Most famously, Chardin painted them. His paintings of youths building card structures have hovered in my imagination for years. Frederick Church’s magnificent painting of Cotopaxi erupting is reproduced in the poster behind the young woman. I have borrowed that many times, inserting it into any quiet interior scene that needs drama. The cat, Inky, was once a family pet, less prescient in life than he appears in this little memorial.