Degas to Picasso Student visit 29th April 2017

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.

Degas after the bath

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

Fig 2 Theodore Gericults Retreat from Russia 1818



Beyond the Brush Exhibition Ashmolean 29th April 2017

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”.

Chu Ko Mounatins

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).

Fong Chung ray 2008

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) (accessed 16/05/17).

Fig 2 Fong Chung-ray abstraction Collage 2008 (accessed 16/05/17)

Recent Reading and Research

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 Robert Wilson Painting 1- Water colour.

12 Tips to improve your artistic composition











Project 3 Research Point Tacita Dean and George Suerat Comparison


Fig 1 Tacita Dean Fatigues 2012 Chalk on board (close up)

I started this exercise by comparing the images within my sketch book.Dean and seurat

Tacita Dean, British born 1965.

Fatigues are drawings of snow-capped mountains in Afghanistan and the Kabul River. When looking at the images and having viewed some of Tacita Deans work before I felt it was important to understand the concept or context behind the image; “Fatigues,” refers to Ms. Dean’s own exhaustion after completing a major commission for the Tate Modern, but it also hints at a military undercurrent. For more than a decade, Western soldiers have scoured these mountains, which have therefore weighed on America’s collective consciousness. She renders them as haunting forms”. (Russel 2013)

The Drawings are made chalk on blackboard where  “Ms. Dean has scrawled arrows and bits of text along the drawings, as if marking sketches for a film shoot: Snow melting, river swelling, tension rising, she writes in one piece, “flash flood” in another, which, save for a few whispers of chalk, is completely blank.”(Russel 2013)

What I have learnt/ points of interest

Interesting the joining line between the boards helps with the photographic quality of the drawings.

An interesting point learning point is that I do not believe that you need to visit a place to capture or create the sense of it (Tacita Dean did not visit Afghanistan, Peter Doig advises that he doesn’t particularly always paint one place). It certainly helps but it’s not a defining factor in the success of the eventual outcome.

Interestingly the context in which we live our current lives with the opportunities that technology and travel provide us with. I believe we are free to visit places physically or through technology as much as we please and then put in our art. 

Russel 2013 Tacita Dean Fatigues: at Mariam Goodman Gallery (accessed 2013)

Fig 1 Tacita Dean Fatigues 2012

Sketch book print George Seurat landscape with houses

Sketchbook print Tactita Dean Fatigues

Tutor Reccomended Reading from Assignment 4- Life Models and Artist Euan Uglow

“Life Modelling: and now for the nudes” 

“Life Modelling: and now for the nudes” I can see why my tutor has pointed me in the direction of this Gaurdian Article which looks at different view points from the life models including why they do it, body confidence and misconceptions. ironically a couple of moths ago I had a couple of very ignorant school gate moms who thought it was hilarious that I attended a weekly class with “real naked people” (making some very nasty personal comments).  As drawing people is one of my favourite subjects I find this view so interesting, people’s perceptions of why we draw nudes and more so as the Gaurdian Article points out why people become nude models “It’s about being part of the creation of art – about the beauty of the human form” (Barnet 2009).

Some reflective thoughts I had from this article is that Simonetta Vespucci the believed model for Botticelli Birth of Venus is unknowingly now more famous than the likes of our modern-day celebrities who also often reveal themselves.  The portrait of Sue Tiley (an everyday civil servant) by Lucien Freud’s sold for £17.2m.

Further more next time I attend my life class I think it is interesting to find out more about the models themselves and see how this reflects into my art I believe it will put another dimension when considering drawing the nude and less objectification of the person.

I had no idea this even existed “Register of Artists’ Models existed and is good to know for future reference

This is a very refreshing thought about the purpose of a life model that also has some connotations to why (I) we make art: “There are so many jobs that are really pointless,” she says. “Just working in an office and making money to keep a big corporation alive. But the thing I really like about working with artists is that they get so inspired by simple things – a person, or a piece of fruit. For me, it’s like they take back the things we’ve lost. Joy in nature. Joy in life.” (Simon 2009).

Euan Uglow : Measurement, proportion and composition.

Drawing is the most immediate way of making your ideas, sensations, and information explicit.

— Euan Uglow

Painting Perceptions is a really interesting website, I have tentatively had a look at random of some other artists on there too that I have noted to return to when I study Practise of Painting such as Zoey Frank

Euan Uglow a british artist (1932- 2000), use of space and form within his work is really interesting: the marks are clear and transparent that forms the figure and flesh It appears to me like an editing process that he is deciding which light, space and mark will represent each plane throughout the composition.


Fig 1  Curled nude on a stool 1982-3 Oil on canvas Euan Uglow.

From research I can see how Uglow a student of William Coldstream has been influenced by him. Euan Uglow is not an artist that I have encountered before. As Uglow always works from observation “The measuring marks over the surface of Uglow’s paintings are a distinctive feature of his work” (Groff 2010) that he leaves in incase he needs to refer to them again. It could be argued how the marks are interpreted by the viewer depending on the viewers own artistic knowledge as incidental, pretty or inspiring. To me it’s like viewing ghost lines or workings outs its all relevant to the overall process and adds to the aesthetic value. I found it really interesting to view his compositional process not only the sketches but to the real life compositional scene and how I can then use this method in my work? Does this help to the 3D process or inviting the viewer into his work? I actually find this method alone interesting as a site specific piece of art exploring line.

nuriasetup uglow

Fig 2 Set up for Nuria (Euan Uglow) 

“Some of Uglow’s still lifes have meaningful stories behind them that Uglow appeared to feel were only for him or the people close to him” (Groff, 2010) I can really relate to this as I seem to be interested in a narrative in my work. The painting Mimosa is a believed to be of a dear friends funeral flowers. Compositionally and  interestingly his drawings do not always fill the sheet of paper. His painting of  Skull 1994-7 shows structure, possible use of Golden section or other mathematical systems whilst working out the overall composition. This observation makes me want to re work assignment 2 with all these theories in mind.

The article on painting perceptions informs of Uglow’s strict ways of working and rules to allow him to paint, again I understand this need and admire his discipline.


Barnet, L. (2009) Life Modelling: and now for the nudes In: The Guardian [Online] (accessed 18 May 2017)

Groff, L. 2010 Euan Uglow At: (accessed 18 May 2017)

Simon, Z. 2009 Life Modelling: and now for the nudes In: The Guardian [Online] (accessed 18 May 2017)


Fig 1  Curled nude on a stool 1982-3 Oil on canvas Euan Uglow (accessed 18 May 2017)

Fig 2 Set up for Nuria (Euan Uglow) (accessed 18th May 2017)