VALENTINO F.

ZUBIRI:
Nude Drawings and Paintings from 1995 to 1996
arts global impact

This book presents a comprehensive collection of Valentino Zubiri’s nudes done in 1995 and 1996. Artist’s crayons were used mostly on watercolor paper and some pastel paper. Some were painted using watercolor, pastel or oil. Between 1996 and the date of this publication (January 2008), the artist did not draw any other nudes and continued to refuse to sell any of his works.

This is an Evaluation Copy in PDF format. Not for print or sale.

VALENTINO F. ZUBIRI:
Nude Drawings and Paintings from 1995 to 1996

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ZUBIRI: Nude Drawings and Paintings from 1995 to 1996 arts global impact .VALENTINO F.

Universal Copyright Convention.org Cover and Book Design by Valentino Zubiri Printed in the United States on the internet in its complete. for commercial purposes without the written permission of the publisher and the artist. or in groups or individually. Zubiri All rights reserved.valentinozubiri. recording.Box 11937. NOTE: This is an evaluation copy of the book. both hardcover and paperback. Please refer to the websites above and at the last page of this copy for where the high-resolution printed edition of this book. The artist retains full copyright of the book and its contents and individual images for purposes that are commercial and otherwise. and Pan-American Copyright Convention. allowed only to be shared . including the images. or otherwise. in its entirety. This Internet Edition PDF File. has been set at 72 pixels per inch. can be purchased. electronic.copyright © 2008 Valentino F.O. photocopying. Chicago. No one is allowed to make changes without official written permission. mechanical. unadulterated edition without financial gain.artsglobalimpact. Published by Arts Global Impact. It is illegal to use the book and its images. Copyright under Berne Corporation. without prior written permission of the author and the publisher except in the case of reprints in the context of reviews. with the purpose of promoting the download of the entire original book for personal viewing only. or transmitted in any form. No part of this book may be reproduced. P. You are allowed to share screen captures. by any means. IL 60611 www.com www. stored in a retrieval system.

To Mama & Papa .

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From speed reading came my early appreciation for publishing. Thanks for your time. My brother and I were the same grade level. muscles and faces. It was like getting fat to the point where you could no longer cover it up. Thanks to my interest in comic books. I continued to buy and read comic books. I started drawing comic book heroes. I borrowed comic books from friends to read. and then bought only a few when I can. in the Philippines. A book is a book. my collection continued to grow into an additional box. my collection had become a box full. we were middle class by Filipino standards. so I slowed down buying them anyway. I did my best to make my drawings “perfect”—which meant drawing exactly like the comic books I had. but I was going to school for a bachelors degree in biology. I first got into American comic books when I was a kid in the third grade. I was able to buy more. I had gotten better drawing. I promised I would stop buying comic books. but we read books. Let me walk you through my years of getting into figure drawing. Sometimes. and we read a lot. My dad eventually discovered my stash. including arts and crafts. being careful not to ruin any pages in my collection. but I discovered other hobbies.INTRODUCTION These drawings did not just come instantly. using onion skin. I began to draw By college. My family was not rich. men and women. but I read fewer titles. Around that time. and threatened to throw all my comic books out! He said something about his money having been wasted by me. We read fast. my family got introduced to a speed reading seminar. a booklet is a booklet. I got back to comic books. figures. Allow me to explain how my mind worked and how I perceived this collection. I lied. By the sixth grade. . Nevertheless. He increased my brother’s and my allowance when we got to high school. so we all got into reading. I lightly traced the illustration.

as the new book covers got posted. no longer to collect. but this time. numerosity and quantity had weight. on the corkboard. and the back. but less than a profession. I came to the phrase. “industry standard. I started to collect more than I bothered to read. I began collecting “stuff.” Merchandise. unbound. I collected books. Every month. I also thought I had to come up with “perfect” art to be appreciated. unfolded. As an adult. In my mind. they announced upcoming books. by pinning slick. Comic books were not exactly a thing of the past. The sci-fi bookstore had a huge corkboard. I accumulated a huge box of book covers! This triggered another wave of compulsive behavior. Once again. because the covers included the front which had the cover art. crisp art. and they were free for the taking! In time. I would buy. I also collected books on drawing and painting. and books about comic book and science fiction artists and art. not as a profession. when I got to Chicago. There. I started to collect the book covers because they had great. printed book covers sent by publishers. I concluded that I had to meet “industry standards” to end up in a gallery. At this point.” A book for example has to meet “industry standard” in order to get published and sell. to read. I got more into art. I called it a pursuit. but thanks to my speed reading skills. which had the teaser information of what the upcoming book was about. I got interested in science fiction—short stories and novels— my ”books” versus “booklets” perception of life. This led me to regularly visit a nearby science fiction bookstore. the previous ones got taken down and placed in a “Free” box that anyone can rummage through. I was no longer compulsively buying and collecting comic books. A toy has to meet “industry standard” to end up on the shelves of stores. Art for me was now more than a hobby. It made sense.That was how I thought. Because I was also into art. but as a pursuit. I started to collect non-sport trading cards by science fiction and . I discovered that publishers sent actual book covers to bookstores to announce their upcoming titles.

I came to tell myself. rounded up to a hundred and first. and I kept on buying the watercolor blocks they had on their supposed “store closing” sale. So. the pastel pads. especially the watercolor blocks. The store announced that they were closing and going out of business. I realized I had to do art many times over to perfect my art. This meant that the artists each had ninety (or more) acceptable art pieces that they had worked on through the years. but only for a short time. These artists. I needed to “feel responsible” for my art. in my mind. There are usually ninety trading cards to a set. the drawing would have become perfect and acceptable. The store kept their doors open for months. had accumulated enough artwork to warrant having trading cards of their works. also took me to art supply stores. . which they had on sale. for example. as a joke. skinning and deboning chicken. Since I had been painting using watercolor. Using ordinary paper was not right for me. but I compulsively bought a lot of art supplies. sometimes bond paper. the watercolor blocks. Do anything a hundred times. I started using ordinary paper. sometimes drawing paper pads. my compulsion to spend the money I earned from my office job around that time. I walked in and bought watercolor blocks. From collecting and the numbers game. like work in a factory. There was an art supply store in downtown Chicago that was just a few blocks away from work. In my case. whatever it is. I thought I was just being tricked into continuously buying their merchandise. Meanwhile. and I thought I would be able to do that using my more expensive paper. I later started to attend figure drawing classes organized by different people I came to know. Then it occurred to me to try to figure out how to use my most expensive paper. one would have become an expert.fantasy artists. I resolved to do a hundred drawings so that by the hundred and first. through their years of illustrating or painting. and by the hundred and first chicken. that my magic number would be ninety.

or with rough sketches. so I kept the ones which I thought were worthless. I started using pastel paper. and paint better. I discovered a step-by-step way to keep myself inspired. and reuse the paper. I made sure that my drawing would inspire me to paint later. I also had in mind to paint over my drawings later on. my money contribution to pay for the models and the venue. Comparing myself to my friends at the drawing sessions. a lot of them could not draw at all. imperfect drawings. and the nudity of the models and their time by just drawing on cheap paper. I obviously quickly (but humbly) realized that I was better than most of them. I needed to meet industry standards! I don’t know what happened in my head. but I was not happy with the feel of the paper and I thought it was thin and can accidentally get folds and creases. including the ones which had a lot of mistakes. Without fixing the drawing crayons on the watercolor paper. sometimes. They were mentally blocked. some of them were happy to leave. but I went from badly drawing figures to the style you now see in this book. In order to paint better. it was easy to wash off the pigments using water. If I was to become serious about art. I did . The surface helped to “pixelate” my drawing crayons. I kept my drawings. I had thought that I could easily erase and paint over the paper with the mistakes and ugly. which I stored in my portfolio. When I felt confident and happy with my drawing style. with scribbles on just one sheet of paper. I immediately started using the watercolor blocks.I also felt that I would just be wasting my time. They had three hours worth of “attempts. in order to get inspired doing the next stage after drawing—painting—the initial drawing should be inspiring enough. I discovered that I liked using watercolor paper for drawing because the surface was grainier or rougher than pastel or drawing paper. I thought. including the ones I didn’t like at all. The type of paper inspired me to draw better. So. After three hours of a figure drawing session.” I can’t just be leaving with attempts! In time I collected a lot of drawings.

and even pink. The paper was one flat surface. Skin was also a single. I used dark sepia. There were others in the group who spent their entire time attempting to draw the naked models’ faces! What the f--k? I resolved earlier on that drawing faces during figure drawing sessions served to slow me down. in my mind. Same thing with the hands. I wanted to be serious and professional about my art.not want to show smooth. light sepia. Later on. drawing the same subject with the same frozen pose from different angles and distances. and then a final thirty-minute pose. Aside from all this. However. olive gray. I felt that a stable meeting point of lines should only consist of three lines. If I . and it avoided accidental. gray. continuous lines as much as I wanted to show coarse shadows and shadings. easier to preserve. as I saw it. I used serious paper. I don’t want to say that I probably had the most talent in those sessions. We were just neighbors and/or friends passing the time artistically. Time was money. or mind game. which usually lasted three hours. Then came another challenge. like sixty seconds. The sessions were never in an art school. the group agreed to have the model pose for quick sketches. unintentional folds and creases. I became the one to move and change vantage points. The challenge was. for warming up. another “game” I had was avoiding the convergence of four or more lines to a single point. it was the negative space as well. and drew to get better. like 5 minutes. peaks and valleys of the human body. then 15 minutes. and my materials were money. and then longer. and the poser posed longer than I cared to have. Because my friends drew slower than I did. I also added variety by using different colors from my collection of drawing crayons. My challenge was foreshortening and shadows. During the figure drawing sessions. bulges. It also turned out that watercolor paper was thicker. 10 times. a few times. in foreshortening and shadowing to show the bumps. trying different styles. The emphasis was on the torso. I did not place a lot of emphasis on the hands and feet.

would find the art in my works. I came to appreciate the spontaneity of the subjects. notice that meeting points of lines result only from the meeting of three lines. or those whose religious beliefs have hindered their appreciation of art. and what I was able to put on paper. as naked art subjects. and I colored some of . My goal was to take the erotic element. and I have also drawn not-so-attractive. but it is usually asked by those who are not in the art field at all. myself included. I got invited to a few group shows. in my eyes. while it was even only in my mind. I have drawn what regular people might consider attractive.” I had also thought about coloring my drawings using watercolor. I don’t blame people who have asked me about any sort of awkwardness. People would look at my works time and time again. men and women. I forget the correct art term to use. The latter should be reminded that even Rome and the Vatican has naked art. erotic tension in the sessions and religious conflicts. I came to appreciate the variety of body types in our figure drawing sessions. on watercolor paper and pastel paper. My challenge was to produce so people. That was never a challenge. My challenge was to avoid being pornographic. My conscious challenge was to portray non-erotic naked figures. As you look at my work. then I would use a point of four or more lines. My art became the balance of what I saw. Here’s a challenge that never was a challenge. but I call them my “Y’s” and “T’s. all of them became beautiful. Here is what could have been a challenge initially that never was. I experimented with colors and I also used oil paint. and possible pornography. In a short time period. out.wanted the eye of the viewer to move to an emphasized area. I also tried pastel pigments on pastel paper after the initial use of drawing crayon. even before I started to place any pigment on the paper. not at the naked person who was in front of me for a brief moment. It was not that I missed being erotic in the process. I simply did not want to be erotic at all.

discouragements reached me. and slowly. which stretched to more than a decade. Memoirs of an Artist as a Masseur. They smiled perfectly. They made me continue to pursue and dream. I thought others did as well. I was disheartened. fashion people and other types of creative people. where most of my clients required me to be. I painted some portraits. I told everyone I was now a masseur to get back at my detractors. and discourage attacks the mind. which had started to bulge. . I want to say I laughed it off. Someone said I had quantity. interior designers. I opened my portfolio and showed them what I had kept in my portfolio. but eventually hope to get better at drawing. I think my portraits had acceptable hands. I was able to write a first full-length book. I continued to design posters for a theater group where I volunteered.” Dishearten attacks the heart. This was when massage came to my mind. but I did not have substance and that I did not have my heart in my work. My address changed—I moved. I appreciated my work. It was not like lost touch of my artistic abilities. I said it was to be my yin and yang. I continued other forms of art. Some were artists. and the faces looked realistic and were just like the subjects. actors. some were authors.my drawings for those shows. Thanks to massage. Let me tell you two more words from my vocabulary. because massage afforded me to move downtown. the first draft of which was finished in 2006. but it still affected me. I met people. they did not smirk. I would touch the body. but I knew I had to find a way to bounce back. With massage. without drawing. I got a little lazy. “Dishearten” and “discourage. singers. I became a masseur to discover the substance that my enemies claimed I lacked. near the hotels. I did. With figure drawing. some were involved in the sale of art. I drew the body from a distance. but not necessarily discouraged. Once in a while people who came to my place got a chance to view my works. Some began to talk behind my back. I placed all my drawings in my portfolio and forgot about them for a while. I kept my fire going.

the show would have usually changed. I had experience going through the process of designing and printing posters and souvenir programs. but a full-length book about myself was so much more personal. Back to the idea of my nudes in this book. There was. maybe through his or her entire life.After feeling that I had finished writing a book. and continues to be. I felt I had to move on. I felt like I had given birth to a giant baby. years ago. I also started to visit other artists in Chicago. I’ll let you know when you get older. If you go to a museum. because the visitors met at the nearby Starbucks. It is called Starbucks Saturdays. One of these days. especially the higher end ones in the River North area. I felt that my mission of being a masseur was over. I went through a period of undiagnosed depression. Because there were more than thirty galleries involved. From the theater group.. I made a conscious decision to visit the Chicago galleries on a regular basis. Here’s a thought that struck me. I had had experience. you will see all of the artist’s works through a longer span of time. editing and laying out a monthly Filipino magazine in Chicago. a gallery representative would meet them to take them to four galleries. thanks to my constant visits to these people and their galleries and studios. I will write about my adventure with them as well. If you go to an artist’s studio. you will see a series of works by a single artist. as expected. where at 11 a. If you go to a gallery. . a gallery walk in Chicago that happened every Saturday. you will see a single work by an artist. made within a certain span of time. You can go to my websites or to the end of this book (this internet edition) for links to my gallery friends. by the time the walk comes back to the same gallery. In 2006. was the same feeling. What I had felt.m. Each gallery would give a short talk of what they were currently showing. The book was done. so I stopped being a masseur and became something else. Time came when the gallerists began to recognize my face and I made friends with a lot of them.

or the best representation of an artist’s work. when I felt proud of my good works and when I wanted to trash the bad ones. By 2007.I also came to realize that the works displayed by museums and galleries do not necessarily have to be perfect. They cannot be faked. Look at the grain of my drawings produced by the random coarseness of my materials. from two different points in time. I came back to look at my drawings and paintings from a decade ago. when all of them have become more valuable and told stories of a time in my life that had long passed. I had the assumption that. I don’t want to sound narcissistic. I appreciated them just as well. that if I made a hundred works. I did my best not to throw away my mistakes because of my compulsion to keep and collect. I also have works which I thought were perfect. and the later “realizations” and lessons I had gotten from galleries. seemed to even be more memorable than the better ones. and other people in the art field. The gallerists have taught me to look for stories in the pictures. like the dedication of other artists who made at least ninety works. more than a decade later. industry standard” works. duplicated nor repeated. A drawing with “x” marks or smudges or a deliberate line that indicated that I saw the mistake that needed to be corrected. or a bad drawing of hands and feet. After all these years. It was a great experience to perceive my own works twice. I realized that even the works which I had haphazardly done also tell a story of the moment I did them. because I know my flaws. They are individuals. earlier. my hundred and first would be perfect. that even the smudges which were accidental are important. and consider them like fingerprints. other artists. and now. which I myself could not believe were done by me—my “perfect. whose trading cards I collected. This later time of reviewing my past works. I still know the nude drawings that I didn’t like around the time I produced them—the ones which I thought had mistakes and were imperfect. .

Other artists who had shown their works to me in their studios also taught me that I will not always come up with a perfect image, but it’s all a matter of perception. You will notice that a good number of the painted ones had been dated 1995. I painted some to show in 1995. I signed the rest 1996 when I decided not to paint on any drawings anymore. There’s one last thing, a confession, that I have to make. It’s 2008. In my upcoming book, Memoirs of an Artist as a Masseur, I became a masseur in my hopes of becoming better with figures. However, I also said in the book that I tended to procrastinate “creatively,” pursuing other creative endeavors to postpone drawing and painting. The last serious nude I remember drawing was in 1996. Maybe this year, 2008, I will begin to draw nudes again. Wish me luck. So consider this book, not as a collection of perfectly drawn nudes, but as a collection of works from a portfolio. From a slice in time. As you look at the images, please remember the elements and stories from this introduction. Finally, to those who tried to detract me, I do have substance, even right from the start. Thanks for your time! Valentino F. Zubiri January 2008

VALENTINO F. ZUBIRI:
Nude Drawings and Paintings from 1995 to 1996

24” x wd.Nude Drawings and Paintings from 1995 to 1996 19 ht. 18” crayon on watercolor paper. .

20 Valentino F. Zubiri: ht. . 24” x wd. 18” crayon on pastel paper.

24” x wd. . 18” crayon on pastel paper.Nude Drawings and Paintings from 1995 to 1996 21 ht.

. 18” crayon on pastel paper.22 Valentino F. Zubiri: ht. 24” x wd.

Nude Drawings and Paintings from 1995 to 1996 23 ht. . 18” crayon on watercolor paper. 24” x wd.

. 24” x wd.24 Valentino F. 18” crayon on watercolor paper. Zubiri: ht.

Nude Drawings and Paintings from 1995 to 1996 25 ht. 24” x wd. 18” crayon on watercolor paper. .

24” x wd. Zubiri: ht.26 Valentino F. . 18” crayon on pastel paper.

. 18” crayon on pastel paper.Nude Drawings and Paintings from 1995 to 1996 27 ht. 24” x wd.

28 Valentino F. 24” x wd. Zubiri: ht. 18” crayon on pastel paper. .

. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 29 ht. 18” crayon on watercolor paper.

. 24” x wd. 18” crayon on watercolor paper.30 Valentino F. Zubiri: ht.

. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 31 ht. 18” crayon on watercolor paper.

Zubiri: ht. 24” x wd. 18” crayon on pastel paper. .32 Valentino F.

18” crayon on watercolor paper. 24” x wd. .Nude Drawings and Paintings from 1995 to 1996 33 ht.

24” x wd.34 Valentino F. . Zubiri: ht. 18” crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996 35 ht. 18” crayon on watercolor paper. 24” x wd. .

24” x wd. Zubiri: ht.36 Valentino F. 18” crayon on watercolor paper. .

.Nude Drawings and Paintings from 1995 to 1996 37 ht. 18” crayon on watercolor paper. 24” x wd.

24” x wd.38 Valentino F. . 18” crayon on watercolor paper. Zubiri: ht.

Nude Drawings and Paintings from 1995 to 1996 39 ht. . 18” crayon on watercolor paper. 24” x wd.

. 18” crayon on watercolor paper.40 Valentino F. Zubiri: ht. 24” x wd.

. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 41 ht. 18” crayon on watercolor paper.

Zubiri: ht. 24” x wd.42 Valentino F. . 18” crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996

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ht. 24” x wd. 18” crayon on watercolor paper.

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Valentino F. Zubiri:

ht. 24” x wd. 18” crayon on pastel paper.

Nude Drawings and Paintings from 1995 to 1996

45

ht. 24” x wd. 18” crayon on watercolor paper.

24” x wd. Zubiri: ht.46 Valentino F. . 18” crayon on watercolor paper.

.Nude Drawings and Paintings from 1995 to 1996 47 ht. 18” crayon on watercolor paper. 24” x wd.

18” crayon on watercolor paper. Zubiri: ht. .48 Valentino F. 24” x wd.

24” x wd. .Nude Drawings and Paintings from 1995 to 1996 49 ht. 18” crayon on watercolor paper.

Zubiri: ht. 18” crayon on watercolor paper.50 Valentino F. . 24” x wd.

18” crayon on pastel paper. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 51 ht. .

. Zubiri: ht.52 Valentino F. 24” x wd. 18” crayon on pastel paper.

24” x wd.Nude Drawings and Paintings from 1995 to 1996 53 ht. . 18” crayon on watercolor paper.

. Zubiri: ht. 18” crayon on watercolor paper.54 Valentino F. 24” x wd.

. 18” crayon on pastel paper. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 55 ht.

56 Valentino F. . Zubiri: ht. 24” x wd. 18” crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996 57 ht. 24” x wd. 18” crayon on watercolor paper. .

58 Valentino F. 24” x wd. 18” crayon on watercolor paper. . Zubiri: ht.

18” crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 59 ht. . 24” x wd.

. Zubiri: ht.60 Valentino F. 24” x wd. 18” crayon on pastel paper.

Nude Drawings and Paintings from 1995 to 1996 61 ht. . 18” crayon on pastel paper. 24” x wd.

Zubiri: ht. 24” x wd. 18” crayon on pastel paper. .62 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 63 ht. 18” crayon on pastel paper. 24” x wd. .

24” x wd. . Zubiri: ht. 18” crayon on pastel paper.64 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 65 ht. 24” x wd. 18” crayon on pastel paper. .

18” crayon on watercolor paper.66 Valentino F. Zubiri: ht. 24” x wd. .

. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 67 ht. 18” crayon on watercolor paper.

68 Valentino F. 24” x wd. Zubiri: ht. . 18” crayon on watercolor paper.

24” x wd.Nude Drawings and Paintings from 1995 to 1996 69 ht. . 18” crayon on watercolor paper.

24” x wd. Zubiri: ht. . 18” crayon on watercolor paper.70 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 71 ht. . 24” x wd. 18” crayon on watercolor paper.

72 Valentino F. 18” crayon on watercolor paper. Zubiri: ht. . 24” x wd.

24” x wd. . 18” crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 73 ht.

74 Valentino F. Zubiri: ht. 24” x wd. 18” crayon on watercolor paper. .

Nude Drawings and Paintings from 1995 to 1996 75 ht. . 18” crayon on watercolor paper. 24” x wd.

18” crayon on watercolor paper.76 Valentino F. . Zubiri: ht. 24” x wd.

24” x wd. 18” crayon on watercolor paper. .Nude Drawings and Paintings from 1995 to 1996 77 ht.

78 Valentino F. . 18” crayon on watercolor paper. 24” x wd. Zubiri: ht.

79 .Nude Drawings and Paintings from 1995 to 1996 ht. 18” x wd. 24” dark sepia drawing crayon on watercolor paper.

18” x wd. Zubiri: ht. . 24” crayon on watercolor paper.80 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 81 ht. 18” x wd. 24” crayon on watercolor paper. .

. 18” x wd. Zubiri: ht.82 Valentino F. 24” crayon on pastel paper.

24” crayon on watercolor paper. . 18” x wd.Nude Drawings and Paintings from 1995 to 1996 83 ht.

Zubiri: ht.84 Valentino F. . 18” x wd. 24” crayon on watercolor paper.

18” x wd.Nude Drawings and Paintings from 1995 to 1996 85 ht. . 24” crayon on watercolor paper.

86 Valentino F. Zubiri: ht. 24” crayon on watercolor paper. 18” x wd. .

24” crayon on watercolor paper. 18” x wd.Nude Drawings and Paintings from 1995 to 1996 87 ht. .

88 Valentino F. 24” crayon on pastel paper. 18” x wd. . Zubiri: ht.

Nude Drawings and Paintings from 1995 to 1996 89 ht. 18” x wd. . 24” crayon on pastel paper.

. 24” crayon on pastel paper. 18” x wd. Zubiri: ht.90 Valentino F.

24” crayon on pastel paper. 18” x wd. .Nude Drawings and Paintings from 1995 to 1996 91 ht.

. 24” crayon on watercolor paper. Zubiri: ht. 18” x wd.92 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 93 ht. . 24” crayon on pastel paper. 18” x wd.

18” x wd. .94 Valentino F. Zubiri: ht. 24” crayon on watercolor paper.

. 18” x wd. 24” crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 95 ht.

24” crayon on watercolor paper. . 18” x wd. Zubiri: ht.96 Valentino F.

24” crayon on watercolor paper. 18” x wd. .Nude Drawings and Paintings from 1995 to 1996 97 ht.

98 Valentino F. 24” crayon on pastel paper. . Zubiri: ht. 18” x wd.

. 24” crayon on pastel paper.Nude Drawings and Paintings from 1995 to 1996 99 ht. 18” x wd.

Zubiri: ht.100 Valentino F. . 24” crayon on watercolor paper. 18” x wd.

24” crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 101 ht. . 18” x wd.

.102 Valentino F. Zubiri: ht. 24” crayon on watercolor paper. 18” x wd.

Nude Drawings and Paintings from 1995 to 1996 103 ht. . 18” x wd. 24” crayon on watercolor paper.

Zubiri: ht. 24” x wd.104 Valentino F. . 18” watercolor and crayon on watercolor paper.

.Nude Drawings and Paintings from 1995 to 1996 105 ht. 24” x wd. 18” watercolor and crayon on watercolor paper.

Zubiri: ht. 18” watercolor and crayon on watercolor paper. . 24” x wd.106 Valentino F.

. 24” x wd. 18” watercolor and crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 107 ht.

18” watercolor and crayon on watercolor paper. .108 Valentino F. Zubiri: ht. 24” x wd.

18” watercolor and crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 109 ht. 24” x wd. .

Zubiri: ht. 24” x wd. .110 Valentino F. 18” watercolor and crayon on watercolor paper.

18” watercolor and crayon on watercolor paper. .Nude Drawings and Paintings from 1995 to 1996 111 ht. 24” x wd.

24” x wd. .112 Valentino F. 18” watercolor and crayon on watercolor paper. Zubiri: ht.

18” watercolor and crayon on watercolor paper. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 113 ht. .

18” watercolor and crayon on watercolor paper.114 Valentino F. . 24” x wd. Zubiri: ht.

24” x wd. 18” watercolor and crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 115 ht. .

18” watercolor and crayon on watercolor paper. 24” x wd. Zubiri: ht.116 Valentino F. .

. 18” watercolor and crayon on watercolor paper. 24” x wd.Nude Drawings and Paintings from 1995 to 1996 117 ht.

Zubiri: ht.118 Valentino F. 18” watercolor and crayon on pastel paper. . 24” x wd.

Nude Drawings and Paintings from 1995 to 1996 119 ht. 24” x wd. . 18” watercolor and crayon on watercolor paper.

24” x wd.120 Valentino F. . Zubiri: ht. 18” watercolor and crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996 121 ht. 18” watercolor and crayon on watercolor paper. . 24” x wd.

122

Valentino F. Zubiri:

ht. 24” x wd. 18” watercolor and crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996

123

ht. 24” x wd. 18” watercolor and crayon on watercolor paper.

124

Valentino F. Zubiri:

ht. 24” x wd. 18” oil and crayon on pastel paper.

24” x wd. .Nude Drawings and Paintings from 1995 to 1996 125 ht. 18” watercolor and crayon on watercolor paper.

126 Valentino F. 18” watercolor and crayon on watercolor paper. . Zubiri: ht. 24” x wd.

Nude Drawings and Paintings from 1995 to 1996 ht. 24” watercolor and crayon on watercolor paper. 127 . 18” x wd.

24” crayon and oil on pastel paper. 18” x wd. Zubiri: ht. .128 Valentino F.

129 .Nude Drawings and Paintings from 1995 to 1996 ht. 18” x wd. 24” watercolor and crayon on watercolor paper.

18” x wd. . Zubiri: ht. 24” watercolor and crayon on watercolor paper.130 Valentino F.

24” pastel and crayon on pastel paper.Nude Drawings and Paintings from 1995 to 1996 ht. 131 . 18” x wd.

132 Valentino F. . 14” x wd. Zubiri: ht. 10” crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996 133 ht. 14” x wd. . 10” crayon on watercolor paper.

. 14” x wd.134 Valentino F. Zubiri: ht. 10” crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996 135 ht. 14” x wd. . 10” crayon on watercolor paper.

Zubiri: ht. 14” x wd. . 10” crayon on watercolor paper.136 Valentino F.

Nude Drawings and Paintings from 1995 to 1996 137 ht. . 10” crayon on watercolor paper. 14” x wd.

14” crayon on watercolor paper.138 Valentino F. Zubiri: ht. 10” x wd. .

14” crayon on watercolor paper. 10” x wd. .Nude Drawings and Paintings from 1995 to 1996 139 ht.

10” x wd.140 Valentino F. Zubiri: ht. 14” crayon on watercolor paper. .

. 14” crayon on watercolor paper.Nude Drawings and Paintings from 1995 to 1996 141 ht. 10” x wd.

10” x wd.142 Valentino F. Zubiri: ht. . 14” crayon on watercolor paper.

143 . 14” crayon and pencil on watercolor paper. 10” x wd.Nude Drawings and Paintings from 1995 to 1996 ht.

Zubiri: ht. 10” x wd. .144 Valentino F. 14” pencil on watercolor paper.

14” pencil on watercolor paper. .Nude Drawings and Paintings from 1995 to 1996 145 ht. 10” x wd.

14” crayon on watercolor paper. 10” x wd.146 Valentino F. Zubiri: ht. .

147 .Nude Drawings and Paintings from 1995 to 1996 ht. 10” x wd. 14” watercolor and crayon on watercolor paper.

148

Valentino F. Zubiri:

ht. 10” x wd. 14” watercolor and crayon on watercolor paper.

Nude Drawings and Paintings from 1995 to 1996

ht. 10” x wd. 14” watercolor and crayon on watercolor paper.

149

150

Valentino F. Zubiri:

ht. 10” x wd. 14” watercolor and crayon on watercolor paper.

.

.

www. if there is one.com and other cellphone / numeric keypad websites If You are Looking to Collect Art from Chicago Galleries and Artists: Please go to www.com www. A lot of works are affordable and definitely collectible.org www. Zubiri Chicago Galleries and their Artists Chicago Artists Who Dared Websites: www.4M” (The Goal) t-shirts and wall clocks www.org and www. including “$2.CafePress.ValentinoZubiri. Zubiri: Memoirs of an Artist as a Lab Rat.Books by Valentino F. None of them represent me.ChicagoArtMovement. The Seven Incredible Healing Chapters from the Book. Zubiri: Nude Drawings and Paintings from 1995 to 1996 .-) .com www.a site with videos of art talks from some Chicago Galleries. The Second Book from the Memoirs of an Artist Series More Works by Valentino F.Spring 2008 Lessons from a Psychic Surgeon. but my joke is that I hope to be the first one represented by all.Spring 2008 Valentino F.ArtsGlobalImpact.com.MassagePeople.a0d0. which I took from my digital camera.com for a list of Chicago-based galleries and artists which I endorse and plan to write about soon.Spring 2008 Coming Soon by Valentino F.ChicagoArtMovement. .com/BananaQ You can buy stuff here.ValentinoZubiri. www. has not reached Chicago in a big way. Zubiri: Memoirs of an Artist as a Masseur .ArtsGlobalImpact. You must be aware that the art bubble.com . Memoirs of an Artist as a Masseur .

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