Assignment 3: Lady in Pool

Updated on 12 March 2017 (Harvard referencing).

20 August 2016. A few days ago we were given a day off to spend at the local spa and sauna. The totally relaxed lady we found floating in the pool was so impressive that I found I had to try and make her the subject of my Assignment 3. Although she would probably not count as a true portrait with her face half hidden because of the extreme viewing angle, I just had to take the risk.

08 September 2016. The lady reminded me a lot of the work by Jenny Saville and in preparation I had a look at a large number of Saville’s paintings. Her wonderful delicate handling of skin tones is something to remember, although I know that my own approach is somewhat rougher and I do not want to avoid it on account of trying to copy someone else’s style. Also today I did some intense research on the science of painting pool water. There was a very detailed tutorial (at the time of updating this post the tutorial had unfortunately been taken off the web for copyright reasons and is available only if bought from the author (Mural Joe, n.d.).

15 September 2016. Today I started on the assignment by making a preliminary sketch in order to position the lady correctly, since foreshortening was very strong in her case. As in the exercises preceding this assignment I decided to avoid referring to any photos, in order to see whether my knowledge about human anatomy and memory imprint of the floating lady would be sufficient to produce a hopefully believable form (Fig. 1).

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Figure 1. Sketchbook – positioning the lady in the pool

Next I prepared an A2 canvas carton with a watery mix of blue and turquise (Fig. 2).

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Figure 2. Prepared background

23 September 2016. I noticed how my recent use of acrylic paper had let me forget about the qualities of canvas and the preparation of the background I wanted took me a long time. The smoothness of paper is something I have come to like, since it allows the production of fine detail with ease, while the roughness of the canvas I use leaves, at least at my level of expertise, more than a fair share of the outcome to coincidence.
On the finished background I quickly painted my lady as I remembered her without further reference to other work or photos. I also tried to see her from my caricaturist’s viewpoint, which proved extremely useful in the construction of a loosely painted first layer. My main goal was the creation of a form unusual enough to allow it not to be easily forgotten and in analysing this form to both find and emphasize, if necessary by exaggeration, the innate rhythm in the sequence of arms, breasts, thighs and feet, while trying to take great care in designing a pool atmosphere, whose orderly shapes and cool colours would make a hopefully interesting contrast to the lady’s well-rounded forms (Fig. 3).

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Figure 3. Developing painting – intermediate stage (1)

This painting is another one in which I found an intense communication to develop while working. A small change to one detail – and it was small changes throughout – would instantly cause my eye to focus on something else requiring adjustment in answer to the former. This experience is joyful and satisfying and, at least to my feeling, probably one of the most essential parts of a working painting (Fig. 4):

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Figure 4. Developing painting – intermediate stage (2)

Here comes the final result. It took me a while to decide, observing it under different lighting conditions, but I have come to the conclusion that I should leave it as it is. I might change my mind before I send my portfolio to my tutor, but for the moment I am very happy as it is (Fig. 5):

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Figure 5. Finished painting

For self-assessment please see separate post!

References:

Mural Joe (n.d.) How To Paint Waves Bundle [online]. Mural Joe, Flagstaff. Available at: http://learn.muraljoe.com/downloads/how-to-paint-waves-bundle/ [Accessed 12 March 2017]

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