Part 3, project 1, exercise 3: Figure and portrait – tonal study

Updated on 5 March 2017 (Harvard referencing)..

22 July 2016. A first opportunity to test whether I am able to emulate rather than illustrate using paint instead of drawing equipment. I think I realised now that, when my tutor told me to be more creative, she was not talking about the ideas I want to transport, but my use of colour. To be honest I am a bit confused at the moment, because I need to take the study guide as a rough framework only and chose whatever I feel is adequate as a technique. There is so much contemporary work around that I do not know where to start to take me off my well-worn tracks.

First of all I had another look at Vitamin P (Schwabsky, 2002) and some of the more figurative painters:

23 July 2016. Karen Kilimnik (*1955), an American installation artist and painter, was the first of these, with three examples of seemingly naive but artificial-looking portraits on (Schwabsky, 2002, pp. 174-175 ). I have never been sure whether to feel attracted or repelled by “pseudo-naive” art and an interview I found made me feel strangely alienated from her (Mulleawy and Mulleawy, 2011). The answers she gives appear deliberately both careless and cryptic. Since I am looking for inner resonance, I decided that I would leave her for the moment.

When studying the examples included by Marlene Dumas (*1953, South Africa) I feel less distance. Her subjects radiate more than sheer presence, they present a fate on their skin (Schwabsky, 2002, pp. 100-101). On the other hand, Dumas actively employs “marketing gags” by addressing our animal instincts in order to attract attention. This is something I have always had a big problem with myself. I am no self-promoter at the best of times and have self-inflicted moral standards, which I feel are getting in my way of developing into a 21st century artist.

For me it is far easier to connect with John Currin (*1962, USA) and his paintings (e.g. Schwabsky, 2002, pp. 68-69), which transport famous historical subjects into the present. While I do not like his in places gaudy style, the absurd situations and combinations resonate as if we shared a common language.

German-born Eberhard Havecost (*1967), on the other hand, captures fleeting everyday moments, seemingly irrelevant scenery and at the same time lifestyles typical of the 21st century (Schwabsky, 2002, pp. 136-137). Although to me the chosen subjects appear cool and unengaged from the painter’s perspective, I have always liked the idea of paying attention to the sideshows of life. His way of painting reminds me somewhat of the approach typical of Lomo photographers (Lomography, 2017). Very similar approaches are chosen also by the Swedish Cecilia Edefalk (*1954, Sweden) (Schwabsky, 2002, pp. 102-103), Wilhelm Sasnal (*1972, Poland) (Schwabsky, 2002, pp. 288-289), Mantalina Psoma (*1967, Greece) (Schwabsky, 2002, pp. 262-263), Elizabeth Peyton (*1965, USA) (Schwabsky, 2002, pp. 244-245), or even my former school colleague and successful painter, Lisa Kunit (*1966, Austria).

All of the above have in common a relatively naturalistic style reminding of photography depicting everyday subjects in a quasi apropos fashion, which in Vitamin P is described as an indicator of contemporaneity (Schwabsky, 2002, p. 287). But Vitamin P was published in 2002 originally and contemporaneity will without doubt have moved on since then. So I moved on to study the contemporary artists suggested by my tutor.

From the first moment I loved the weird use of colour and the wonderfully ironic approach by Glenn Brown (*1966, UK) (Brown, 2017), as e.g. in “The Dance of the Seven Veils” (Brown, 2014) or “Cactus Land” (Brown, 2012) and a video (Gagosian Gallery, 2014). Less sure what to make of her work I am when looking at Stella Vine (*1969, UK), here is a selection (Vine, 2017a, scroll down a bit for the great number of portraits). When reading the analysis (Vine, 2017b) of her personal approach posted on her website, it reads like a page-long apology to the art market and like the diary of a girl who tries to make sense of the world that keeps hurting her. Alex Katz (*1927, USA), who held a retrospective exhibition in Salzburg in 2013, I think might serve as a template for all the painters mentioned above. His approach is like that in 21st century painting, his subjects appear largely uninvolved (type “Alex Katz” into the image browser to get an overview). I wonder why this “cool”style bears such an attraction to the viewer. Maybe it leaves open a lot of room for interpretation, but I find that extremely difficult to tolerate in my own painting. I want to transport stronger feelings and it makes me hurt if I can find none.

Since, however, I first need to get into a habit of sketching with paint, I went to look for methods of doing so. Denis Castellas (*1951, France) uses a way of combining painted shapes and line, which looks very attractive to me, although I guess that there is a major element of drawing in his sketches (Schwabsky, 2002, pp. 62-63). Similar, but more energetic, are the sketches by Merlin Carpenter (*1967, UK, Schwabsky, 2002, pp. 60-61). Again, the figures remind me of photography. The painted areas behind and to the sides help to position the figures in space and support the movement. Since this was not quite enough to establish a firm background, I searched for “figure sketching contemporary” on the web. Most of what I came up with was of course drawing, but I found a selection of painted sketches by Robert Burridge (*1943, USA), which strongly appeal to me, e.g. “Seated Nude” (Burridge, n.d.(a)),  “Blue Nude” (Burridge, n.d.(b)) and “Suze” (Burridge, n.d.(c)) . I would like to learn a style like that in my painted sketchbook. Regarding tone I was advised by my tutor to have a look, among others, at the work of Euan Uglow (1932-2000, UK). Again the subjects appear distant and uninvolved, but the use of tone in his nudes is wonderfully delicate and I am quite drawn to the structure and colour of his backgrounds (Plotkin, 2010).

24 July 2016. Bearing the above and my subject idea in mind I prepared two split backgrounds, one monochrome and one using the colours I had left over from the previous exercise, in my square sketchbook and I tried to paint my husband kneeling down in my workshop, pretending to do some garden work. I had to work fast and divide the work up into several very short sessions, since the position was very awkward to keep for more than a very few minutes. These are the results (Fig. 1-2):

Figure 1. Sketchbook – black and white acrylic sketch

 

Figure 2. Sketchbook – acrylic sletch using a limited palette

I prefer the black and white version, also because my husband appeared more relaxed the first time over. In the coloured sketch it is obvious that the position hurt both feet and spine. Overall I was surprised that it was possible to create, in a very short time, a believable impression of volume and movement in my square 20 cm sketchbook with a comparatively large flat brush. In the coloured study my husband’s face is relatively close to life also. I will have to give the background of the finished painting particular attention, however. This is not a particular strength of mine yet. In order to make progress here, I will refer to the researched artists, in particular “Suze” by Robert Burridge (see above).

For the painting itself, my husband attending to the maize plants in our little “urban plot”, I prepared a 60 x 80 cm painting carton with a split background layer, one with my “skin” colour and one with a mix of sap green, yellow and primary blue for the maize. I would like to keep and improve on the above loose style here and will see whether I am able to do this on a larger scale, while keeping in mind a what I think might be a contemporary approach to the subject (Fig. 3).

Figure 3. Prepared background

2 August 2016. After a very intense 10 days doing other things, including having to find a new lawyer, again, and painting our son’s bedroom after a planning phase of a mere 4 years (:o)), I finished my exercise yesterday. I could have gone on forever, proesumably, but my tutor pointed out to me to be more sensitive about when to stop painting and there was a clear message by the painting, saying “Enough!” So this is what I got (Fig. 4):

Figure 4. Finished sketch, acrylics on 60 x 80 cm canvas board

There is a certain roughness in my approach to the subtle tonal differences on skin and fabric, but I decided that I would not refine them in order not to destroy the loose painting. In some places I think that the technique was quite successful, especially when looking at both hands and arms with the light coming from behind. I was also quite happy with the fabric and face. Less successful were the legs, but the photo looks much worse in this respect than the actual painting. What I like in the background was the effect of the white behind my husband’s back and the darker earth colours left of his knees, both helping to shape the volume of his body. With a few exceptions I think that I was successful in using tonal differences in forming a believable representation of a three-dimensional body in space.

References:

Brown, G. (2014) Cactus Land [oil on panel] [online]. [n.k.]. Available at: http://glenn-brown.co.uk/artworks/250/#selected_mediums=13 [Accessed 22 July 2016]

Brown, G. (2014) The Dance of the Seven Veils [oil on panel] [online]. [n.k.]. Available at: http://glenn-brown.co.uk/artworks/263/#selected_mediums=13 [Accessed 22 July 2016]

Brown, G. (2017) Biography [online]. Glenn Brown, London. Available at: http://glenn-brown.co.uk/biography/ [Accessed 22 July 2016]

Burridge, R. (n.d.(a)) Seated Nude [sepia and India ink on BFK Rives white drawing paper] [online]. Robert Burridge, Arroyo Grande. Available at: http://www.robertburridge.com/contemporary_figure_drawing/page17.html [Accessed 22 July 2016]

Burridge, R. (n.d.(b)) Blue Nude [acrylic on gessoed Fabriano watercolour paper] [online]. Robert Burridge, Arroyo Grande. Available at: http://www.robertburridge.com/contemporary_figure_drawing/page1.html [Accessed 22 July 2016]

Burridge, R. (n.d.(c)) Suze [acrylic on gessoed Fabriano watercolour paper] [online]. Robert Burridge, Arroyo Grande. Available at: http://www.robertburridge.com/contemporary_figure_drawing/page12.html [Accessed 22 July 2016]

Gagosian Gallery (2014) GLENN BROWN at Gagosian West 21st Street, New York [online]. Gagosian Gallery, New York. Available at: https://www.youtube.com/watch?v=ZGgzv5-dBnc&feature=player_embedded [Accessed 22 July 2016]

Kunit, L. (2017) Galerie [online]. Lisa Kunit, Vienna. Available at: http://www.lisakunit.at/website.php?Q=4 [Accessed 22 July 2016]

Lomography (2017) Photos [online]. Lomography. Available at: https://www.lomography.com/photos/ [Accessed 5 March 2017]

Mulleavy, L. and Mulleavy, K. (2011) Karen Kilimnik [online]. Interview Magazine, 15 March 2011. Available at: http://www.interviewmagazine.com/art/karen-kilimnik/#_ [Accessed 22 July 2016]

Plotkin, N. (2010) Euan Uglow [online]. Painting Perceptions, San Diego. Available at: http://paintingperceptions.com/euan-uglow/ [Accessed 22 July 2016]

Schwabsky, B. (2002a) Vitamin P: New Perspectives in Painting. Phaidon Press.

Vine, S. (2017a) Paintings, Drawings and Objects [blog] [online]. Stella Vine, Alnwick. Available at: https://stellavine.com/ [Accessed 6 March 2017]

Vine, S. (2017b) Stella’s Journal [blog] [online]. Stella Vine, Alnwick.
Available at: https://stellavinejournal.com/ [Accessed 6 March 2017]

Part 2, project 2, exercise 1: Still life – drawing with paint (artist research)

Updated on 22 February 2017 (Harvard referencing).

18 April 2016. Since I know perfectly well, and was reminded of this in the course feedback for Drawing 1 (with the result for which I was very happy, even if not taking into account the circumstances), that I need to rush less my projects regarding preparatory sketchbook drawing, experimentation with setups, comparisons with other artists and such like, I decided that I would need to investigate the style of some artists before starting my own painting.

I have always been drawn to paintings where the outlines of the depicted objects are clearly visible, sometimes in black, sometimes in hues corresponding in some way to the colour(s) of the object itself, as e.g. in Vincent Van Gogh’s famous self portrait (Fig. 1). He did not only use a darker tone of an object’s colour, as in his hat, to paint the outline, he also appears to have taken care to choose a complementary colour to paint the background: bluish hat – orange background, green coat – red background. This means, according to Chevreul’s colour theory, that the complementary pairs will reinforce each other, while other colours will not. This also means, if I am right here, that by choosing the mentioned colours van Gogh’s figure raises from the red-orange background without having to add perspective.

Figure 1. Vincent Van Gogh: “Self-portrait with Bandaged Ear”, 1889, oil on canvas. Source: Vincent Van Gogh (1889) [Public domain] via Wikimedia Commons

The same effect should, by the way, be working in a painting by contemporary artist Denis Castellas, who I first read about in the book Vitamin P (Schwabsky, 2002, pp. 62-63). The painting, (Castellas, 2001) shows a lady in a red and green coat before a grey background.
Another artist working with outlines was Henry Matisse, a very famous example of which is shown below (3). His style appears less consistent than van Gogh’s with respect to colour theory. While the left side of the picture appears to be in one image plane apart from the hair, the right side is clearly divided into background and foreground by the dark layer of colour separating the red dress and green background.

Henry Matisse: “The Green Stripe”, 1905, oil on canvas

And another example I particularly like, by impressionist Samuel John Peploe (1871-1935) (4):

Samuel John Peploe: “Still Life: Apples and Jar”, ca. 1912-1916, oil on canvas

In the above example I find good ways of using outline in grey and white objects. I will have a very close look at the choice of colour and line in Peploe’s painting and attempt something similar in my own picture.

Resources:

Van Gogh, V. (1889) Self-portrait with Bandaged Ear [oil on canvas] [online]. [collection Mr. and Mrs. Leigh B. Block]. [Available at: https://commons.wikimedia.org/wiki/File:Vincent_Willem_van_Gogh_106.jpg [Accessed 22 February 2017]

(2) Schwabsky, B. (2002) Vitamin P: New Perspectives in Painting. Phaidon Press.

(3) https://en.wikipedia.org/wiki/Green_Stripe and https://en.wikipedia.org/wiki/Green_Stripe#/media/File:Matisse_-_Green_Line.jpeg

(4) https://en.wikipedia.org/wiki/Samuel_Peploe#/media/File:Samuel_Peploe_-_Still_life-_apples_and_jar_-_Google_Art_Project.jpg

First impression – Vitamin P: New Perspectives in Painting

Updated on 19 February 2017 (Harvard referencing).

10 March, 2016. For me it was a difficult decision which book to get from the set book list for OCA Painting 1. Since there is no library in Salzburg specializing in English language art books, I have to buy every book and I need to consider carefully the advantages of each. Following some attempts at comparing books on the Internet and comments found by art students I went for “Vitamin P: New Perspectives in Painting” (Schwabsky, 2002).
After having had a look through the impressive number of artists included in the bulky volume my first impression was that it may not always be advantageous to sort artists by name. While it is fun to flick through the pages and see something new and wildly different on each and every of them, it is difficult to make sense of the contained messages in the way that is probably needed by art students. Well, never mind, in time we will become friends, this book and I.

References:

Schwabsky, B. (2002) Vitamin P: New Perspectives in Painting. Phaidon Press.