Sophia Loren

Heads are turning again for Sophia Loren as she co-stars in the new movie (releasing this week), NINE. Daniel Day-Lewis is the male lead and co-stars with Loren, Fergie, Kate Hudson, Judi Dench, Nicole Kidman, and Penelope Cruz. Based on Fellini’s 8 1/2 and directed by Rob Marshall (Chicago), Loren is the only Italian in the film. Her appeal is still as

strong as it was when Alfred Eisenstaedt shot her during the filming of the 1964 Oscar nominated “Marriage Italian Style.”

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    Robert Kaupelis: In Memorium
    (An excerpt from College Art Association News)

    First there was Kimon Nicolaïdes’s Natural Way to Draw (1941), then there was Robert Beverly Hale’s
    Drawing Lessons from the Great Masters (1964). Then in 1966 came Robert Kaupelis’s Learning to Draw. It was a book smart enough and egalitarian enough to employ old and modern masters’ examples along with students’ work; the point was the dynamics of application, not only the procedures of attempting realism. The book offered me and my generation what we knew but didn’t quite trust yet—the processes of mark-making, be it gentle, violent, nuanced, or bold. We had seen those applications in artworks we admired—old and new—but we hadn’t had it broken down in a philosophy with lessons before.

    Kaupelis, who died on June 12, 2009, began teaching at NYU in 1956. He was born in Amsterdam, New York, in 1928 and educated in Buffalo and at Columbia University. In 1975 he was the subject of a chapter in a Herbert Livesey book surveying higher education called The Professors, where he was cited as one of the nation’s outstanding art educators. In 1980 Kaupelis wrote his second Watson-Guptill drawing book, Experimental Drawing, which reinforced his exuberant amalgam of stressing the fundamentals of art along with encouraging innovative and, at times, refreshingly quirky approaches: fifty nonstop drawings in three hours, drawing from out-of-focus slides, drawing the model with eyes shut. This newer book was almost as significant as Learning to Draw because at the time it was published drawing had become a very undervalued curriculum in university programs; it was a time when drawing was considered by many as old-fashioned and nearly irrelevant.

    As an artist Kaupelis emerged as the New York School rose to prominence and when nonobjective American art found its place on the world stage. His own work reflected that influence in its vibrancy and spontaneity. He was, as the critic John Canaday wrote, a seductive colorist.

    Kaupelis asked a lot from his readers and students. His main demand was: “LOOK!”—look at this: at this sepia wash Constable landscape; this Sheeler charcoal still life; this De Kooning gouache; this pen-and-ink Manet portrait; this Rauschenberg collage; this Pontormo red-chalk figure dancing off the page with a gesture line of astonishing confidence, speed, and grace! Look at this form, this line, this shade, this figure, this edge, this space! Look at your assimilation of them all! How many future artists, curators, art historians, cartoonists, animators, illustrators and teachers were asked to LOOK by Kaupelis during his thirty years at NYU and in his two important drawing books, Learning to Draw and Experimental Drawing? Thousands.

    Kaupelis said drawing was anything intended as art which left a mark. He left his.


    John Carey, an artist and art teacher, is the editorial cartoonist for Greater Media Newspapers in central New Jersey.