Assignment 2: Poisonous cocktails

Updated on 4 March 2017 (Harvard referencing).

22 June 2016. Due to an immense amount of work and dates to be kept outside the OCA I needed to be very careful with the time I have to prepare for Assignment 2. Therefore I am glad that I have done lots of preliminary research and work in my exercises leading up to this assignment. Since my first attempt at a setup showing aggression by movement and choice of colour was not exactly successful I need to change both. So I had a look at Giorgio Morandi and his “communicating vessels” (The Art Story, 2017) and found that the spouts of jugs are incredibly useful in creating the illusion of a talkative atmosphere. I will therefore add at least one of these to my setup.
When looking for “aggressive setups” for still lifes I came once again across the cubists and Pablo Picasso’s (1881-1973, Spain) “Mandolin and Guitar” painted in 1924. The aggression comes, besides the bold mark-making, from the positioning of the objects, which form a mask-like face. Picasso painted another still life, which seems to be more or less tumbling out of its frame “The Vase, Bowl and Lemon” (Picasso, 1907). This reminds me of my attempt at doing the same and neither his nor my painting convince me regarding the communicating vessel aspect. The red and yellow bowl does seem to both hide behind the green bottle and appear cheeky by “rolling the lemon out”. The green bottle appears to back off by seemingly hiding a “face” (the brown opening) behind the blue cloth on the left. The red colour of the bowl, although in the same picture plane as the green bottle, seems to push forward, out of the painting. This effect reminds me of Mark Rothko’s (1903-1970, USA) studies, where black automatically takes the position apparently furthest “inside” the picture on the lowest possible plane, whereas red comes out to appear to hang in mid-air above the actual plane (see e.g. Artsy, 2017). My original choice of colours was not completely wrong, but in order to be able to manage the multitude of interconnected effects I will have to reduce objects and colours considerably.
24 June 2016. So, changing my setup while remembering to still serve poisonous cocktails, then doing preliminary sketches in pencil and watercolour. Prepare the Rothko-like background, paint on that with a brush with different colours and let the picture develop.
The following photo sequence (Fig. 1-5) shows how far I have got today and irrespective of the possible final quality of the painting I am pleased that I can stick with my planning now, including using the sketchbook for collecting annotated cutouts and computer prints.

Figure 1. Setup through viewfinder

The red OCA tissue paper behind the decanter gives an impression of a forward movement. When comparing this with my first pencil sketch to test the setup, the difference without the added colour is striking. It lack that particular illusion of movement:

Figure 2. Pencil sketch with Rothko-type background tonal values

So, my choice of colours depended on the following idea: If I have a Rothko-type background, a red area should automatically push forward. If I put some of the glasses on that background and choose my colours so as to enhance this effect, I might be able to create the illusion of relative movement when e.g. comparing with a subdued vessel on a black background. In order to test my idea I made a quick watercolour sketch. The red area does indeed push forward and the orange watercolour pencil used to reinforce the decanter increases that impression. The same is true for the smaller bottle on the left. I am not convinced, however, of the strength of the black area, but this may be due to the bottle outlined in blue reaching over the top and bottom end of that area:

Figure 3. Watercolour-watercolour pencil sketch to decide on colours

Next I prepared my background with acrylics on an A2 painting carton, landscape format. It was next to impossible to take a photo that would not show the reflective surface in some way, so the colours are not exact, especially the black looks blue and the red area does not look as strong as it really is:

Figure 4. Rothko-type background on A2 painting carton

The first coloured sketch of my objects went relatively well, but since a lot of thinking is involved here I will have to give it a short break in order to let my idea develop further. I quite like how the red of the background seems to have somehow invaded the decanter and seems to push it towards the viewer. I will need to take care to balance the picture, however, especially the bottle in the black area, whose top needs to be far less strong. I am also not sure yet whether I want the violet-blue between decanter and conical glass changed. At the moment it does help to push the decanter, but it gives it a far to prominent position while holding the green glass back, and I have not found out yet why that may be. Also, I will need to think carefully how strong the glass in the bottom left corner can become without tipping over the balance:

Figure 5. Brush sketch on background

27 June 2016. Today I was informed that I would be transferred to another tutor, since my former tutor had resigned from her post. Since I am not even halfway through Painting 1 yet I hope to be able to adapt quickly to a new tutoring style and that the respective expectations are not too divergent.

I also continued with my painting, trying to carefully think about the above ideas and how to give them weight in dealing with the developing work. So, first of all, I changed the shape of the red area to make it less prominent and by coincidence it started looking like a  brightly lit room behind a dimly lit bar. This change required changes to be made to the lighting of the objects in the foreground. None of that is real and I had to rely on my intuition in placing tonal values. Also, there is now a contradiction in the painting. While red pushes forward, its place here is at the far back. I think that it does work, because the decanter is also filled with it. The funny thing here is that it looks by far better in the photo than in the actual painting (Fig. 6):

Figure 6. Front room added to the bar, requiring many subtle changes to the objects

Then I tried to reduce the reddish glow of the decanter, since it continued to be a far too dominant feature in the setting. Again it looks much better on the photo than on the painting) (Fig. 7):

Figure 7. Decanter subdued, changes to the bottles on the left

Finally I remembered to fill the vessels with the remnants of my poisonous cocktails and this change allowed the balance among the objects to be shifted. By removing much of the glow inside the decanter the glassware appears much more delicate now. The glass on the right has started to look somewhat like the aggressive intruder I wanted it to be. This makes it believable that the blue glass on the bottom left appears to be leaving the scene by the forward action initiated by the intruder. The movement across the canvas is probably not totally convincing yet, but I am happy that I found a way of suggesting such an action at all (Fig. 8).

Figure 8. Finished painting

Here are some details (Fig. 9-11):

Figure 9. Detail 1: Bottle top and decanter spout

Figure 10. Reflections on decanter and table-top

Figure 11. Red light shining through glass onto table-top

Considering that most of the contents of this painting is purely from imagination I am quite happy with the outcome. There are several places, which do not look quite right yet, e.g. when looking closely the red wine left in the decanter needs its surface extended to the right. Also my style of painting is still not consistent over the whole surface, although I think I am making some progress in that respect.
The last day for submitting Assignment 2 to my previous tutor is the 30th of June. I decided to stick to that date during the “interregnum”, but I expect to be allocated a new/later date by my new tutor. In that case I might return to the painting once more and see whether I might improve it further.

Resources:

Artsy (2017) Mark Rothko [online]. Artsy, New York. Available at: https://www.artsy.net/artist/mark-rothko [Accessed 04 Mar 2017]

Picasso, P. (1907) Vase, Bowl and Lemon [oil on panel] [online]. Private Collection. Available at: http://www.bridgemanimages.com/en-GB/asset/218851/picasso-pablo-1881-1973/pitcher-bowl-and-lemon-1907-oil-on-panel/ [Accessed 04 Mar 2017]

Picasso, P. (1924) Mandolin and Guitar [oil and sand on canvas] [online]. Solomon R. Guggenheim Museum, New York. Available at: https://www.guggenheim.org/artwork/3441 %5BAccessed 04 Mar 2017]

The Art Story Contributors (2017) Giorgio Morandi Artist Overview and Analysis [online]. The Art Story, New York. Available at: http://www.theartstory.org/artist-morandi-giorgio-artworks.htm [Accessed 03 Mar 2017]

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Part 2, project 3, exercise 5: Colour relationships – Still life with colour used to evoke mood

Updated on 2 March 2017 (Harvard referencing).

28 May 2016. Working towards my plan for Assignment 2 I want to use this exercise to explore the relative aggressiveness of colours. Using the same setup as in the previous exercise I would like to convey an aggressive mood by making both slight adaptations to my setup, e.g. the relative positions of my cocktail glasses and accessories, using strong brushstrokes, and, most important, a set of appropriate colours.

Referring to my own blog post on colour symbolism (Lacher-Bryk, 2016) and preliminary ideas regarding Assignment 2 I will do the following: Combine purple black and grey in a background consisting of a very dimly lit detail of a chessboard to achieve a gloomy atmosphere, on which the aggressiveness or gentleness of the other colours is also highly visible.

When looking for any artists exposing themselves to the subject of aggression in their paintings, regardless of the quality of their works of art, they have in common the use of red and black, the use of strong and wild brush strokes and a predilection for exposed teeth in their subjects. This is not the kind of aggression I am looking for. I would like to be able to raise an aggressive atmosphere with something as harmless as a set of cocktail glasses. So looking for other methods:
It is vitally important to create movement towards the attacked object, see e.g. the painting “Abstract Aggression” (2014) by Pratik Chavan (*?, India) or “Three Roots that Obscure” (2015) by Hildy Maze (*?, USA) or even in an untitled work (2011) by Martin Bromirski (*?, USA). In the latter the aggression becomnes visible only at second glance. The shapes and pointed cutouts appear to move in a particular way that evokes a feeling of uneasiness, althought the main colours, blue and yellow, would suggest otherwise. The use of aggressive colours like red to me feels more effective if used sparingly rather than by covering the whole canvas. Apart from the above I did not find too many works of art giving me a lot of new aspects to think about. Being human, we instinctively know all about aggression (I just had another look at Pablo Picasso’s (1881-1973, Spain) “Guernica” (1937)) and we can read its signposts very well. For me, the task is to find my own way of transporting it to canvas. Since my previous steps of working towards a finished piece seemed to work quite well, I am going to repeat and possibly correct and refine them.
First of all I will add to the setup some of the ingredients I am planning to use in the assignment piece, i.e. a Belladonna cherry and ivy leaves and use my sketchbook to play with the relative positions of my cocktail glasses with respect to each other and the imaginary chessboard background. In particular, I would like the whole arrangement to appear to to move in a panic towards the viewer by creating an impression of overbalancing “out of the canvas”.

4 June 2016. What a week and no painting. Today, finally, I managed to finish this exercise with a less than satisfying result. In notice that every time something very demanding happens on the hospital front it takes me ages to return to an already started painting. This time it was worse than I ever experienced before, we even thought about quitting our fight altogether, but then, looking at our son, we just must not give up.
Last week we got some ivy and having played around with my arrangement I noticed that it would have to be either chessboard or ivy to avoid crowding and loss of message. And since it is the ivy that is poisonous it was easy to let go of the chessboard. So this is the sequence, on A2 acrylic paper as in the previous exercise (Fig. 1-6):

Figure 1. Setup through my viewfinder

Figure 2. Intuitive first layer of colours

Figure 3. Strengthening the colours, taking back the 3D impression

Figure 4. Finished painting

Figure 5. Finished painting, detail with complementary and similar colours

Figure 6. Finished painting, creating space without using perspective

In summary I very much enjoy this new way of painting, but my brushstrokes are so inconfident and change with every object I paint, and even when I paint over an old layer, that the result is less than convincing. I do feel, however, that I start recognizing the weakest bits and after having dealt with them I find the next weakest bits. This means that I could go round and round in circles and never finish this exercise. Hopefully learning takes place here, too.

Comparing the result of this exercise with the previous one: It was definitely easier to paint with two complementary colours and white only. In this exercise I spent a long time thinking about the juxtaposition of colours in connection with the message I had in my mind. I did not refer to the setup again after having produced a pencil sketch and drawn the outlines on my paper, because I wanted to see whether intuition would be capable of taking over the final choice of colours and the position of additional – and imaginary – accessories in creating an aggressive atmosphere. This was probably the mistake, because I feel that I am not ready yet for such a complex task, but I will go ahead with my plan for Assignment 2 nevertheless. I owe it to my son.

Resources:

Bromirski, M. (2011) Untitled [n.k.] [online painting]. Martin Bromirski, New York. Available at: http://www.painters-table.com/link/structure-and-imagery/martin-bromirski-rachel-labine-elizabeth-riley [Accessed 2 March 2017]

Chavan, P. (2014) Abstract Aggression [n.k.] [online painting]. Pratik Chavan, Mumbai. Available at: http://www.touchtalent.com/painting/art/abstract-aggression-231846 [Accessed 2 March 2017]

Lacher-Bryk, A. (2016) Part 2, project 3, exercise 4: Colour Relationships – Still Life With Complementary Colours [blog] [online]. Andrea’s OCA Painting 1 blog. Available at: https://andreabrykocapainting1.wordpress.com/2016/05/28/part-2-project-3-exercise-4-colour-relationships-still-life-with-complementary-colours/ [Accessed 1 March 2017]

Maze, H. (2015) Three Roots That Obscure – Aggression, Passion, Ignorance [oil on paper] [online]. [n.k.]. Available at: http://hildymaze.com/artwork/3780677-three-roots-that-obscure-passion-aggression-ignorance.html [Accessed 28 May 2016]

Picasso, P. (1937) Guernica [oil on canvas] [online]. Museo Reina Sofia, Madrid. Available at: https://upload.wikimedia.org/wikipedia/en/7/74/PicassoGuernica.jpg [Accessed 28 May 2016]