After writing this blog post about paint being used like drawing after visiting the Tate’s Giacometti exhibition: Expressive Figures and Giacometti Exhibition (Drawing or Painting) My tutor wanted me to “Revisit your research on Degas, Giacometti and Diebenkorn to more closely look at and analyse the use of line, colour and mark-making and the visual dynamics of composition / ‘picture-making’. Make notes and post to your log”.
Fig 1 Degas After the Bath 1901
Fig 3 Seated Nude 1966 Richard DiebenKorn
The images above are all using a limited palate of colour, there is limited tone with the exception of Diebenkorns picture that uses a lighter grey that could be argued for tonal qualities or contrast. they focusing on a sombre, darker, muted colour range.
All of the images have a clear centre within the image with use of diagonal lines within the visual dynamics of the composition. The position in the Degas and the Diebenkorn image portray an S-shaped composition (similarly to a s shaped landscape composition) that pulls the viewer into the image. Giacometti’s composition is more shaped based, with 3 columns or divisions of thirds of the entire image. I have refered back my research that I have done here relating to still life composition and Giorgio Morandi where I now see a link with Giacometti and Morandi: https://artistacreativeart.wordpress.com/2017/03/16/compositional-annalysis-of-giorgio-morandi-and-pierre-bonnards-interiors-and-still-life/ Instantly I have thought of the rule of thirds that relates to the Giacometti composition to centre the figure in the painting: https://www.finearttips.com/2009/04/rule-of-thirds-composition/ Although all three images could have the rule of thirds applied within the design. With the Diebenkorn image there is a more iconic use of composition forming with the use of line crossing and indication a foreground, middle and background. Its harder to interpret with the image of the Giacometti but Diebenkorn has a strong use of pattern and some pattern within parts of the Degas. The Degas has the strongest representation of texture however in all the images the texture is representational not realistic or intricately drawn but the lines still have a quality that isn’t dismissive of texture completely (the paint has texture with Giacometti). There is texture is in the lines. The lines are longer and bold in Diebenkorn with Giacometti shorter and painterly but Degas are much shorter with them connecting in places to form a bolder longer line. Mixture of soft and hard lines all together. Another interesting article for future reference material: https://www.thoughtco.com/elements-of-composition-in-art-2577514
Looking reflectively at the visual dynamics although I have used it within my work I would like to do more research into it. This article touches on it slightly https://sgtarr.com/blog/65272/what-is-dynamic-composition although is non academic, will find further academic research into the visual dynamics of composition to enhance my work. I will spend more time reflecting on this before undertaking the figure (and other) compositions in Practice of Painting. It is also evudently used within the magic of Lucien Freuds paintings that I have just viewed of Leigh Bowery.
Fig 1 After the bath 1900 Edgar Degas https://www.artfund.org/news/2017/02/07/five-must-sees-ashmolean-degas-picasso-exhibition (accessed 13/07/17).
Fig 2 Caroline 1965 Alberto Giacometti http://www.tate.org.uk/art/artworks/giacometti-caroline-t00782 (accessed 13/07/17).
Fig 3 Rich Johnson Thursday Morning Life Drawing Class (undated). https://www.google.co.uk/thursday+morning+life+by+rich+johnson&imgrc(accessed 13/07/17).
Fig 4 Seated Nude 1966 Richard DiebenKorn http://www.napkindad.com/blog/2012/02/18/artists-i-love-richard-diebenkorn-winter-weekend-series (accessed 13/07/17).