Mes: enero 2018

Part 4 The figure and the head

Project 2 Proportion – Exercise 2 A longer study

I especially enjoyed this longer pose of my wife watching TV…

 

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Willow and compressed charcoal on Strathmore Charcoal paper 95g – 12 x 18″

 

Once again I have a achieved a good sense of space and used a wide range of tones to depict form.  The drawing is in fact a good likeness and I had to use foreshortening in her left arm and legs. Darkening the background allowed me to model the outline of the face which was in the light – without resorting to line.

The surface was easy to work but I had trouble in smudging the willow charcoal which insisted in maintaining a flat even tone – I had to use compressed charcoal to increase the depth of the darker tones.

In answering the questions in the exercise:

I have captured the pose well and used an interesting perspective – standing over the model with light from the RHS.

The weight and presence I feel were ok and using details of the sofa placed the model well. The weight of fabric was good and reflected the fall/behaviour of this tea-shirt type material around the figure.

The arms were a little clumsy and lacked clear outlines. I will work on this further during this part of the course. I need to pay more attention to the structure of the body – the bones – skeletal landmarks etc,

 

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Part 4 The figure and the head

Project 2 Proportion – Exercise 1 Quick studies

 

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Charcoal – A2 250g/m2 Mixed media paper

 

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Charcoal – A2 250g/m2 Mixed media paper

I feel very comfortable using charcoal – a medium that I used little in the past.

The above were some quick studies before continuing on to two 10 minute studies. The quick study concentrated on using line and the second batch blocks of charcoal with some added lines.

The comment in the exercise text about ‘drawing over and over until the lines and marks begin to work was interesting and really did work – especially in the drawings below in which you can see some of the original marks that were incorrect – but add a dynamic to the finished images…

 

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Compressed charcoal on 250g Mixed media paper

 

 

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Compressed charcoal on 250g mixed media paper

Whilst there were some inaccuracies in my line work, in general I placed the figure well within the sofa and actually achieved a good likeness (in the second) – the first image gave my wife a beard!

 

These were predominantly line drawings which did give a sense of space and depth by added small details of the sofa.  I did not have to do much measuring and felt that the proportions worked (rough measurements give overall body height approx. 6x the head – possibly up to 7 times )

I think it showed in the drawings that I enjoy working on figures/portraits.

 

Tate Shots: Callum Innes – I’m curious about colour

These are my notes and thoughts related to the YouTube video made by the Tate:

TateShots travelled to Edinburgh to meet Callum Innes, one of the artists featured in Tate Britain’s ‘Watercolour’ exhibition (2011)

It was interesting to see inside Callum’s studio – it appears almost clinical and the way he works with watercolour – his brushes laid out, the trays clinically clean, continually washing out brushes, masking the painted areas and washing his hands – reminded me of a surgical operation.

The layering of the watercolour paint, the subsequent subtraction and addition of more colour to arrive at a final luminescent result was almost a watercolour version of a Rothko. I liked the way he left small edges of the original paint to give tension to the edges of the piece.

I am reasonably clean in my watercolour working but what was more important in his work was the surface – super white (or at least it appeared super white in the video) and his comments about the paper having a slight defect which had shown up in his subtraction of Paint.

I look forward to working in a similar studio – perhaps not quite so clinical!

Research Point – Depiction of the male and female nude over the centuries

The following are notes that I have made during the course of Part 4 after reading articles and books etc. This is an interesting and extremely involved subject that needs a much more in depth study than time would permit at this point in my studies.

John Berger’s Ways of seeing (YouTube Video and book from the 1970s)

I am not sure that I agree with all of John Berger’s opinions and find his books/videos very dated. Chapter 3 which reflects upon the subject of nudity and the nude is interesting and I agree fully with his work on this subject.

Having said this there are some female artists that have clearly challenged his work, and the traditions of western painting.  Those artists include Jenny Saville, Tracy Emin (after his book was published) and  Paula Modersohn-Becker, Kathe Kollwitz before his book was published.

John Berger discusses the difference between the representation of the male and female in western art.  In particular the representation of the female nude as an object which defines the viewers power over the model and the submission of the female object to that representation. He also offers the argument that the female is from an early age taught/encouraged to ‘survey herself‘ and to be ‘surveyed’‘Men look at women. Women watch themselves being looked at.’

Jenny Saville’s work is undoubtedly “female” – her women do not look like the idealised women models, painted by men, who have dominated the nude for almost all of the history of western art. Her work has included bloated, imperfect and scarred bodies.

Paula Modersohn-Becker and Kathe Kollwitz chose to combine two separate genres of visual representation – the figure of the mother and the figure of the nude. In doing so they brought together two poles of femininity which were traditionally held apart.

Kurt Kauper

In a recent interview Kurt Kauper, a Brooklyn based artist, explained about his latest work on the nude as follows:

I wanted the viewer to be in a much more unclear, ambiguous position in relationship to the figure,” Kauper says. At first, he tried painting a woman with her hands on her hips. This decision, he feared, offered too much of a “readable narrative.” That stance, after all, often clearly signifies empowerment and assertion. In his finished paintings, the figures stand with their hands hanging at their sides. “I’ve always tried to make paintings—whether they be of men or women—where the figure in the painting is actually the one who is looking at the viewer, or at least on equal footing with the viewer themselves,” Kauper says, implying that for all his subjects, power derives from more than a simple hand position, clothing, or lack thereof.

To see his work please use the link below:

https://www.artsy.net/article/artsy-editorial-perils-man-painting-naked-women-2018

Silvia Sleigh

Challenging the tradition of nudes, Silvia Sleigh paints male nudes in a carefully rendered Pre- Raphaelite manner.  In 1975 a justice of the New York State Supreme Court spearheaded a campaign to remove one of her works Double Image: Paul Rosano (1974) from an exhibition in the Bronx Museum of Arts.  The justice took offense to a few works in particular, including this detailed portrait of a naked man.  The painting in question showed the artist’s frequent model (and muse) posed before a mirror, every detail of his front and back carefully rendered with Pre-Raphaelite-like detail: soft, swirling body hair; sun-kissed skin; ruddy, hanging penis; and white buttocks. When Grace Glueck of the New York Times asked Sleigh about the backlash to the painting, the artist responded: “I wonder if the judge would object to a female nude? I don’t see why male genitals are more sacred than female.”

Her work is confrontational and challenges John Berger’s Status Quo of the male presence in a painting – that a man’s presence is dependant upon the promise of power…a power that he exercises on others – it is as if Sleigh has tamed this power and paints the man as the object. The detail however was obviously too much for the justice in 1975.

In an article about her work it is argued that “Masculine dominance cannot be displaced merely by reversing traditional motifs,”

Sleigh claimed that her intention was not to objectify her male subjects. “I wanted to paint men in a way that I appreciated them, as dignified and intelligent and nice people,”

To see her work and a recent article about her work see link below:

https://www.artsy.net/article/artsy-editorial-sylvia-sleigh-turned-gaze-male-nude

 

References:

John Berger’s ‘Ways of seeing’ (YouTube Video and book from the 1970s)

The Intimate Distance by Rosemary Betterton

https://www.theguardian.com/artanddesign/2016/apr/25/jenny-saville-painter-artist-gagosian-gallery-london-interview-charles-saatchi-yba

https://www.artsy.net/article/artsy-editorial-perils-man-painting-naked-women-2018

https://www.artsy.net/article/artsy-editorial-sylvia-sleigh-turned-gaze-male-nude