The intimacy of our relationship gave me the opportunity to do life-studies. Richard reclined and I drew. When I made this study of his torso I aimed at accuracy, at fact. But fact can be cold and unemotional or in the arts affected by affection and passion. Art history plays into my art repeatedly, sometimes for good effect, sometimes for the worse. Enamored I was with the German Renaissance artist Albrecht Dürer; hence Richard’s upraised arm became an experiment in Dürer’s  volumetric hatching technique and tainted the drawing; I wish, as in so many other things, that this was not so. But that which is done cannot be undone in this instance, so one must accept the  successful part and see the other area as a positive mark of experimentation; as in life so in the arts, the imperfect coexists with the good and the inspired. For more on Richard’s life, see the obituary at

Richard J. Brignoli 5