Self Portrait an ode to Gary Hume ( experimenting with laser ink transfer and wax paper).
Ink Marbelling/ interpretating landscapes
Queen Square, Crawley 2017 under construction
Above is my finished submission for assignmnet 3. I wasnt sure of the version I finished yesterday and got feedback from the student forum. I got really insightful and helpful feedback, so thank you to everyone that commented. I have added the much more distinction in the foreground with bricks and reflections of the trees on the ground. I am much happier with it as it is much bolder.
Process and Compositional Research
I really enjoyed this exhibition and the journey of artists that it moved through. The exhibition featured a lot of drawings. Firstly I focused on a couple of Lithograph’s and drawings by Theordre Gericault which featured line and wash which was particularly useful baring in mind my tutors recommendations to do so.
The most memorable drawing from the day personally was the chalk drawing by Degas, the line drawing by Picasso. I also spent some time looking at by Juan Gris, I love cubism but it reminded me that I need a top up on my understanding of it. Also the geometric qualities of Jaques Villion Monsieur D Reading 1913 was fascinating to look at try to comprehend technique.
Degas After the Bath 1900 – I love use of colour used within the line (blue), the broad lines gentle use of colour within the figure and the central figure that appears like a statue without context of an abscent bath. I wish I had viewed this drawing before completing the line drawing for Assignment 4.
Fig 1 Degas after the bath 1900 Charcoal and chalk on pastel paper.
Picasso, use of negative space and how the curves appear to all link or work together whilst the human figure although out of proportion is still represented clearly.
Fig 2 Theodore Gericults Retreat from Russia 1818 Lithograph
Fig 1 Degas after the bath 1900 https://www.artfund.org/news/2017/02/07/five-must-sees-ashmolean-degas-picasso-exhibition
Fig 2 Theodore Gericults Retreat from Russia 1818 https://www.artsy.net/artwork/theodore-gericault-retreat-from-russia-retour-de-russie
Before attending the Degas to Picasso exhibition as I arrived early I spent some time in the exhibition “Beyond the Brush” at the Ashmolean. Personally the exhibition has made me think of my own use and marks with ink, for example of the marks in the Grey Man assignment 4 and how all of this will translate within my landscape work.
The exhibition explored abstraction within Chinese Art. The small exhibition focused on a small number of 20th Century artists that were all members of the Fifth Moon group in the 1960’s that had combined chinese and western art within their work. I was particularly interested as the paintings combined ink, acrylic and college and the work combined but veered away from the “conventional use of the brush and emphasised the importance of personal expression and individual style in search of a new modernity” (Ashmolean 2017).
I have been unable to find the image of “Pastoral Love” (1998)by Ghu Ko/Chu Ge (b1931), the multiple lines used to create these massive curves for the mountains was beautiful. Below is the closest image of his work I could find although it doesn’t show the vibrant wash of blue, greens and brown colours used within the lines in “Pastoral Love”.
Fig 1 Chu Ko (information un able to translate)
Fong Chung-Ray’s (b1933) Abstraction 1970 was a composition that combined calligraphy ink, textured layers and colour graduations of ink. ” The subtle hues of blue, grey and ink wash in this Landscape painting add abstraction form with rhythmic vitality” (Ashmolean, 2017). Image unable to be displayed, I particularly like the sense and atmosphere of Abstraction 1970 and that the caligraphy marks hint at tree branches, mountains, clouds however this is just my interpretation of the marks.
Abstract Collage 2008 ink, acrylic and japanese paper shows Fong Chung-Ray interest in college that developed after moving to america in 1975. After 1989 the artist “developed his distinguished style that blends the essence of Chinese literati painting and the spirit of modern western art” (Ashmolean, 2017).
Fig 2 Fong Chung-ray abstract Collage 2008, Ink and acrylic on japanese paper.
Other images I viewed included a landscape scroll which had a cropped elongated composition which reminded of the exercise within Robert Kaupelis which experiments with different shaped canvas or paper such as oval.
Fig 1 Chu Ko (information was un able to translate) https://www.chinesenewart.com/chinese-artists9/chuko.htm (accessed 16/05/17).
Fig 2 Fong Chung-ray abstraction Collage 2008 http://www.ashmolean.org/exhibitions/details/?exh=148 (accessed 16/05/17)
Drawing now Between the lines of Contemporary Art. Tracey
Drawing now: eight propositions Laura Hoptman, Museum of Modern Art.
Wet on Wet Water Colour Painting Ewa Karpinska, New Holland.
Sky Arts Passions Damien Hirst by Harry Hill.
Sky Arts Passions Albert Giacometti by Stanley Tucci.
Sky Arts Tate Britain Great Walks.. Turner.
BBC 2 Robert Rauschenberg -Pop Art Pioneer.
Bbc Alice Neil Documentary
DIY Inkjet transfers – You Tube
Student work uncovered OCA-student.com Robert Wilson Painting 1- Water colour.
12 Tips to improve your artistic composition Creativebloq.com
Here is an interesting Quote about still life that was also discussed at the British Museum Visit-“In the hierarchy of genres (or subject types) for art established in the seventeenth century by the French Academy, still life was ranked at the bottom – fifth after history painting, portraiture, genre painting (scenes of everyday life) and landscape. Still life and landscape were considered lowly because they did not involve human subject matter” (Tate).
Giorgio Morandi- Composition
On the surface Giorgio Morandi’s compositions look very simple but according to research I have done this is a deceptive notion Morandi was very obsessive about the placement of objects. He would spend significant time obsessively moving objects around to find the right placement or position. The objects often overlapped or sit tightly next to each other but he would explore various combinations. This was more to do with volume, shape and space of the objects rather than the narrative of the objects. Looking at multiple shapes of the objects he often paints a scene where unrealted objects appear all at the same height or sometime with just one anomyly of one object. The objects lack of hierarchy of a purpose as they appear just as volumes. There is no identity to the objects or whom or where the objects belong to. The perspective of the painting either looks straight or downwards.
This article in the independent explains it well:
“Take this Still Life from 1953. It presents five objects in a tight group. Morandi shows little interest in their domestic lives. They are removed from any kitchen scenario. The cup, the vase, and the three boxes are little more than a set of solids. Their volumes are made clear, roughly squared or rounded forms. This clear geometry is important to the picture’s central trick. It means that, though we can only partly see some of these objects, we’re able easily to judge their unseen volumes” (Lubbock T).
Tate Still life Art Terms [Online] At: http://www.tate.org.uk/art/art-terms/s/still-life
Lubbock T 2009 Great Works Still Life [Online] At:http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-still-life-1953-giorgio-morandi-1758344.html
This is the final exercise for Part 3. When I read the brief for this exercise I instantly remember visiting a Cemetary in Havana, Cuba that was overwhelming beautiful yet endlessly full of intricate statues. This was back in 2004 when I still only had a 35mm film camera and if I remember correctly I had 2 last photos that I could take before I ran out of film. It may have even been a disposable camera. Here is the picture of the photograph album of the last 2 pictures I took. I miss that pleasure of the unknown photograph.
Cementerio de Cristobel Colon (The Colon Cemetary) Havana, Cuba.
What specifically interested me in the statue I photographed was the powerful yet delicate nature of the statue and the interpretation of the meaning of why the Angel is caring away the lifeless person? Why is the angel blindfolded? The specific statue is the top of the firefighters monument which I remember there was a specific story attached to the statue but I cant seem to find any information online for (only a quick search).
Here are my sketches and tentative look at compositions. It has also given me a chance to start practising Theodore Gericault’s technique used in his anatomical drawings, but I need much more practise.