Part 5 Research

As someone studying textiles I was amazed by the work of Anna Atkins. Born in 1799 some say she took the first photograph. Whether that is true or not her botanists eye reveals much about her love of nature.

In her books on British algae and her later work on plants and ferns, Atkins worked by contact-printing cyanotype photograms, and by “photogenic drawing,” the process by which light-sensitive paper is exposed to the sun.  (1)

The results are truly modern looking and I itch to try some of the ideas as machine embroidery.

Photographs of British Algae by Anna Atkins  (1)

Anna Atkins (1)

Taking the idea of early photography a bit further I have found the work of Henry Fox Talbot (1800-1877). He was a pioneering photographer and like Atkins he produced images that look contemporary and offer us new ways to look at the familiar even today.

Photogenic Drawing of a leaf - Henry Fox Talbot (2)

Lucian Freud drew plants in a way that I like.  They aren't botanical studies in the accepted sense but they evoke the feeling of tropical climes, the heat, sultriness and exuberance.  I get no feeling of being able to wander through these plants.

Plants in Jamaica - Lucian Freud (1953)
Oil on canvas (3)

I have looked at the drawings of Antony Gormley (4).  He drew whilst he was travelling and took only pigment with him.  I like the philosophy that one thing flows into another as the idea develops

Creating one drawing after another, he develops an idea and keeps it going through the momentum of the flow of making in a single intense session of activity.

Although plants are not really the focus of these drawings I particularly like these images because they remind me of plants. They are from the Bermuda drawings 1998

The Bermuda drawings - Anthony Gormley (1998)

The Bermuda drawings - Anthony Gormley (1998)

(1) 

It seems as though plants can be depicted in a infinite number of ways.  They can rely on reality (as in botanical drawings) or become abstract and excite the viewers imagination.  I like the power of suggestion in the abstract.

(1) http://www.theparisreview.org/blog/2015/03/16/impressions/

(2) 

 http://c300221.r21.cf1.rackcdn.com/william-henry-fox-talbot-leaf-1840-photogenic-drawing-1374473998_b.jpg

 

(3)http://www.mutualart.com/Artwork/Plants-in-Jamaica/BE3263B1C3A1C7DF

(4) http://www.antonygormley.com/drawing/item-view/id/192#p7

Expressive Figure Drawing - Bill Buchman

I've intended to make a mention of this book for quite some time.  I've used it extensively during Part 4 because it is so very uplifting - it is what I aspire to and where I want to be.

(1)

The text covers the fundamentals of expressive figure drawing in an easily accessible way and gives exercises and strategies for the beginner.  There is an extensive chapter about materials and their use as well as concepts and techniques for gestural drawing.

There is a section about building mass with line and I tried this during Part 4.

Building mass with line - Buchman p77

My early attempt before I had seen Buchman

Me following Buchman's exercise

This exercise enabled me to understand that contours aren't always necessary and that volume can be built up in different ways.

The book is full of useful exercises that have introduced me to lots of new ways to work.  I particularly enjoyed the part on colour and made my own attempts:

The book concludes with a section called The Expressive  Mind Set and is devoted to encouraging self expression and emotional engagement with drawing.

The OCA course I am following aims to put in some building blocks for development and is I suppose necessarily prescriptive.  When I have finished what I have to do I really want to develop this way of working.  It is exciting, innovative and free.

(1)  Buchman B. (2010)  Expressive Figure Drawing.  Watson-Guptil.  New York.

Part 4 Project 6 Research point 2

Famous artist self portraits

Most artists seem to use themselves as models and many like Picasso and Rembrandt do so throughout their lives. 

Rembrandt (1606-1669)

It is thought that Rembrandt completed almost a hundred self portraits.  Some show him at his easel, some at leisure and others dressed in theatrical costume.  In fact they document his life.

It is thought that Rembrandt painted this self portrait as an exercise.  It shows a very diffident young man as yet unsure of his skill.  He is looking directly at the viewer with his mouth slightly open. There is intense light that seems to come from below.

Self portriat by Rembrandt at 22
Oil on oak panel (1628) (1)

In most of the self portraits Rembrandt looks pretty sombre but this lovely image shows a happy, smiling young man:

Rembrandt laughing - self portrait - 1628 (1)

In the year of his death Rembrandt was still painting himself and this is a most familiar image.  In most of the portraits I've looked at there is very little context.

Self portrait at the age of 63 - (1669) (1)

van Gogh (1853-1890)

van Gogh also painted many self portraits but over a much shorter space of time.  I can't find a single one where he looks happy.  There seem to be none of him as a really young man either.  Here he is 33 but I think he looks much older.  In all but his final self portrait he is bearded.

Self portrait with pipe - van Gogh - Spring 1886 (2)

Over a period of just over three years van Gogh produced many paintings of himself and they show a rapid change in his mental state.

His last self portrait was given by him to his mother on her birthday.  It is in a very different style to the one above - much lighter both in colour and feel.

Self portrait - van Gogh - September 1889 (2)

The diagonal marks typical of van Gogh give this haunting portrait a sense of immediacy.  van Gogh was plagued by mental illness throughout his life and some of his most sympathetic work was completed in his last few months.

Picasso (1881-1873)

I think this self portrait resonates with me because I have used charcoal recently although with less effect.  It is very early figurative work.

Pablo Picasso self portrait 1900
Charcoal (3)

I think is a very assured drawing for such a young man.  The structure of the skull is indicated very clearly through the tones and the eyes seem to follow you wherever you are.

By 1907 the style is beginning to change and become much more expressionistic.  It still has the dark spaces and highlights needed to create a portrait with depth.  The eyes still have great presence.

Self portrait by Pablo Picasso - 1907
Oil on canvas (3)

As he neared the end of his life Picasso painted himself in a self portrait that took several months to complete.

Self portrait facing death - Pablo Picasso - 1972 (4)
Crayon on paper

This time the eyes look just as large as before but they look somewhat fearful.

It is interesting to see the portraits arranged chronologically and compare the developing techniques and the changes to the individual style.

Not quite on task but there is a self portrait of Norman Rockwell that is great fun:

Triple portrait by Norman Rockwell, 1960 (5)

My main task here is to look at the self portrait in contemporary art and it's suggested that I start with Tracey Emin.

Tracey Emin

Emin is controversial and provocative and her self portraits are no exception.  However as I am supposed to be dealing with the face some of the most explicit can be put to one side.  Emin says that she often doesn't remember making a drawing and that it "comes from her inner self" (2). This one was a portrait done looking through the bathroom mirror and is one of her favourites.

Self Portrait in Mirror by Tracey Emin (6)

This is far less about the image but much more about "trying to capture the fleeting instant of my naked core" (6).  I don't know for sure but I think that Emin looked through the mirror not at her paper to do this.

It is this that prompted me to draw my portrait without looking:

Not in the same league but I think  I should have pushed on a bit probably with a heavier pen.

Emin has done more conventional portraits as well:

Tracey Emin self portrait
Ink and wash on paper (7)

This is a more considered and conscious piece of work but for me it lacks the life of the previous one. I feel, however that it is still a very introspective drawing.

I have to be honest and say that I'm not a total devotee of Emin although I've said that of artists before and as my understanding has grown I've changed my mind.

Lucien Freud (1922-2011)

Lucien Freud is one of the most prominent contemporary portrait artists of recent years.  This portrait is one he drew as a young man.  It is in a style that I recognise from my own learning, with hatching used to create tones and expressive marks to indicate the movement in the hair.  Freud is almost glaring at the viewer.

Lucien Freud self portrait - 1939
Pencil  (8)

Almost half a century later he painted this characterful image.  The mature artist has produced a mature painting and the tones (in oil) are used to indicate the handsome, aging face very dramatically. I can't get close up enough to see how the paint is applied but I feel it isn't as subtle as the finished work suggests.  This time the eyes are more downcast and reflective.  This painting touches a nerve and is full of  deep emotion.  Freud seems undeterred by growing older - rather he grows stronger.

Reflection (Self Portrait)  by Lucien Freud - 1985
Oil on canvas (9)

Andrew Salgardo (1982-)

I love the work of Salgardo because of it's apparent chaos.

Trust (self portrait) - Andrew Saldardo
Oil on canvas  (10)

The artist creates the image with small slabs of colour that combine and fool the eye into seeing tone. There are numerous drips and runs and that just adds to the power of the work.  Salgardo often uses an arm and in this way introduces another element to convey emotion.

I wondered what the portrait would be like without the arm so I cropped and straightened the image:

and immediately the context is gone and the emotional impact so much less.  Masterly.

I'm not sure whether this is a self portrait but I love it so I'll include it anyway.

The Opposite of Intention - Andrew Salgardo
Oil on canvas (10)

I thought this reminded me of the work of Jenny Saville (b1970) but when I checked it out Salgardo's work seemed much more flamboyant.

Self portrait by Jenny Saville (11)

Saville's self portrait is from a most unusual angle and the foreshortening makes her head look almost triangular and her shoulders very prominent.

In conclusion it's probably worth a thought about the purpose of a self portrait.

In the days before photography the drawing or painting was the only way of portraying an image.  An image of the face of the artist could be interpreted as publicity material so it was usually a realistic portrayal.  Now there is no such need so contemporary artists are much more free to be inventive or controversial.

I've really enjoyed this little excursion into contemporary self portraiture.  It's very inventive, provocative and lively.  I love it.




(1) http://en.wikipedia.org/wiki/Self-portraits_by_Rembrandt

(2) http://www.wga.hu/html_m/g/gogh_van/16/

(3) http://www.wikiart.org/en/pablo-picasso/self-portrait

(4) http://arts.pallimed.org/2010/07/pablo-picasso-self-portrait-facing.html

(5) http://www.nrm.org/MT/text/TripleSelf.html

(6) http://artofericwayne.com/2014/02/13/

(7) http://www.artvalue.com/auctionresult--emin-tracey-1963-united-kingdo-self-portrait-1972226.htm

(8) http://www.wikiart.org/en/lucian-freud/self-portrait-1940

(9) http://www.wikiart.org/en/tag/lucian-freud

(10) http://www.andrewsalgado.com/work

(11) http://www.christies.com/lotfinder/paintings/jenny-saville-self-portrait-4976449-details.aspx

Part 4 Project 6 Research point 1

Research point 1

In this piece of work I'm going to take a look at how a variety of artists depict the face in different ways.  My starting point is two artists I know who work locally.  The first one is Pat Carrington who drew this portrait in pencil.

London Tramp by Pat Carrington - 2014

This man was photographed by the artists' son on a London street.  The fee was two cigarettes. The drawing was exhibited at Retford Art Society in Autumn 2014 and sold on the opening night.

It is finely detailed and the range of tone is what gives it its power.  It was fabulous.

Quite different is the work of Stephen Pursey.  I took these photographs at his  exhibition at the Gallery at St Martins, Lincoln last October:

Stephen Pursey - self portrait 2014

Estonia by Stephen Pursey - 2014

Pursey's work is in acrylic and has a sort of pop art feel with the tones meeting together harshly. This has less emotional impact and  I think  this is to do with the style.  It lacks the pathos we encounter in Carrington's work.

I can see all the elements I've been trying out; just represented differently.

My course notes suggest that I look at the work of Graham Little and Elizabeth Peyton.

Graham Little (b1972)

Graham Little creates portraits which are detailed and meticulous and take a long time to complete. This image is wistful and tender - it could almost be a photograph.

Untitled (Yellow mirror) 2014 (2)

This image, Tapestry Lady (2010) is executed in coloured pencil.  There is a softness to the fabric which is really textural and appealing.  The background is intriguing without being dominant.  The tones are very similar to the models' hair.

Tapestry Lady by Graham Little (2010)
Coloured pencil (2)

Little's figures often resemble fashion plates.  Foxglove Lady (2011) is an example.

Foxglove Ladt by Graham Little (2011)
Coloured pencil and gouache on paper (2)

Elizabeth Peyton (b1965)

Peyton came to prominence in the 1990's with her portrayals of friends.  Most were interpretations of photographs and painted in a highly stylised way.  These portraits of Liam Gallagher and John Lennon, show very youthful men, quite androgynous, but full of character and appeal.

Liam  by Elizabeth Peyton (1996)
Ink wash and pencil (3)

John by Elisabeth Peyton (1997)
Watercolour on paper (3)

Both of these portraits are painted from unusual and interesting angles.

Earlier I commented that I found London Tramp emotive and that has led me to think about other artists whose work affects me in the same way (and fits the critiera for this Research point).

I find Frida Kahlo 's self portraits very moving - they depict the same suffering that I see in London Tramp but in a style quite different:

Self portrait by Frida Kahlo (1941) (4)

Kahlo suffered a lifetime of physical ill health after childhood polio and a serious bus accident.  She was in constant pain that contributed to depression. This is graphically shown in her many narcissistic self portraits.  Almost all of Kahlo's work is about herself.

Self portrait with the portrait of Dr Farill (4)

The Broken Column by Frida Kahlo - 1944 (5)

The Broken Column shows Kahlo at her most vulnerable.  Her disintegrating body is held together with metal supports.

Most artists seem to draw or paint themselves from time to time.  Some like Picasso document the aging process through self portraiture.


(1) http://carringtonart.net/?page_id=28

(2) http://www.alisonjacquesgallery.com/artists/26/works/

(3)http://www.moma.org/collection/browse_results.php? criteria=O%3AAD%3AE%3A8042&page_number=5&template_id=1&sort_order=1

(4) http://www.frida-kahlo-foundation.org/Self-Portrait-1941.html

(5)http://www.tate.org.uk/whats-on/tate-modern/exhibition/frida-kahlo/frida-kahlo-room-guide/frida-kahlo-room-guide-room-11

Degas and the figure

Degas (1834-1917) was trained at a time when drawing the nude was pivotal in art education and he painted and drew figures clothed and nude, throughout his long artistic career.  He began by drawing scenes with numerous figures as though to get in lots of practise.

Young Spartan Girls Challenging boys - Degas (1869-62) (1)

The figures we are so familiar with were meticulously observed and sketched time and time again and over his lifetime Degas developed his style into something very personal and innovative (1).

Degas spent time painting and drawing prostitutes and depicted their harsh working lives.  Many of these were not found until after his death.  In The Serious Client, Degas seems to be getting some amusement from the situation he is drawing.  It is almost cartoon like with unabashed girls and half a man.

The Serious Client - Degas (1876-77)  (2)

Later Degas moved on to paint and draw many pictures of women at their toilette, brushing their hair, bathing and towelling themselves dry. They are based on more classical ideas than his brothel drawings. I find them very intimate and sensitive.  

After the Bath - Degas (1891-2) (3)

The above drawing is a lesson to me in how not to overwork a drawing.  The marks here are spare but still there is movement in the towel as the woman dries herself.  Her hair looks wet as it hangs in a clump.  Degas gives no clue about the woman's surroundings.

Dancer Adjusting Her Shoe - Degas (1873) (4)

Degas planned his paintings by doing drawings and marking a grid so he could be accurate when he transferred the image.  I particularly like the Dancer Adjusting Her Shoe as it is from such an unusual angle.  There are many such preparatory images of dancers.

Towards the end of his life Degas began to draw in a more experimental way using charcoal in a vigorous and fluid way.

Femme se coiffant - Degas (1894) (5)

These figures are a million  miles away from the Spartan Girls.

I learn a lot from just looking at these wonderful drawings.  For instance in the last image the foreshortening of the right arm, the large hand and the small face are object lessons for a beginner. 

For the future there are Degas portraits to look at - what a treat.



(1) http://www.musee-orsay.fr/

(2)  http://www.artesmagazine.com/2011/12/museum-of-fine-arts-boston-with-comprehensive-exhibit-of-edgar-degas-nudes/

(3) http://www.frick.org/exhibitions/clark/degas

(4)  http://www.metmuseum.org/toah/works-of-art/29.100.941

(5) http://www.christies.com/lotfinder/drawings-watercolors/edgar-degas-femme-se-coiffant-5532397-details.aspx

Part 4 Project 2 Ex 2 A longer study

A longer study

I've had to wait for my Friday Figure Drawing Group before I could do this hour long pose.  I was supposed to concentrate on proportion and check my work constantly.  The problem I find is that I get too carried away and forget to check as I should.  The pose was a challenge because of the foreshortening of the legs and the twist of the torso but I think they turned out OK.  I had some trouble getting the position of the head right and I have to work on hands before I can draw them competently.

Pencil study of Sto - a little short of an hour

Sto was very relaxed during this pose and I think I have captured that.  In the end I found that it was very important to get the head/arms/hands right. They are the most crucial part of the drawing to capture the relaxation of the pose.

The body generally looks fairly solid and believable but the curled up pose was hard to draw.  I'm not sure whether I've been able to convince the viewer that she is sitting.  I think the lower part of the body looks a bit flat.

The proportions are passable but I need to get into (and maintain) the habit of checking all the time.  I also think I need to use guide marks much more in the initial stages of the drawing so that things are where they should be.

I didn't fill my page and I know I should have done.


Research Point 

I laid on the bed in front of a long mirror and looked at the foreshortening.  I take such views as normal but when you really, really look it's very strange.  My feet were the same size as my head and my arms almost disappear.  As I drew them my toes looked impossibly large. Everything looks squashed except my feet and my head.

Laying on the bed

If I lay flatter on the bed my feet looked looked bigger as my body disappeared. I sat up a bit and tried to draw but found it very uncomfortable so I took a photo.

I have found some pieces of art that use foreshortening very purposefully.

The Mourning over the  Dead Christ - Andrea Mantegna (1475) (1)

Compared to what I drew Christ's feet look very small and his head large.  I think the artist may have done this on purpose as Christ's head could be said to be more "holy" than his feet.

Lush - Duarte Vitori (2)

This looks so awkward and the feet are just HUGE.  I think the artist intended us to be taken aback.

I used foreshortening on of my early figures at the group.  I didn't find this difficult as long as I drew what I saw and not what I thought was there.

The models bottom looks proportionally larger because it is nearer to me.



(1) http://www.britannica.com/EBchecked/topic/213452/foreshortening

(2) https://www.pinterest.com/pin/244461085999041896/