Posts Tagged ‘studies’

One Really Big Fire; A Lifetime Passion!

December 19, 2017

The Burning of the Houses of Parliament, from the River 1834 by Joseph Mallord William Turner 1775-1851.jpg

The Burning of the Houses of Parliament, from the River                                                                       Joseph Mallord William Turner, watercolor on paper, 1834

Sometimes I forget how much I enjoy looking at the watercolors and watercolor sketches of Joseph Mallord William Turner.

Ely Cathedral, The Western Tower Seen from the South East, Joseph Mallord William Turner,1794.jpg

And what I love about his work is the process and progress of his painting over the span of his decades as an artist; the nearly radical simplification and experimentation that he undertook that seems to have been a passion.  I’m especially drawn to his sketches using watercolor and other media on paper; it is those that I want to share with you here.

William Turner Drawings.jpg

 

At the beginning of his career, Turner made meticulous drawings, usually with graphite, and laid in multiple layers of transparent or translucent color to create images portraying not only light and dark values but evocations of depth, mass, and texture. As you can see to the right, his early color choices were typical of the English School of the time. Turner used a cool transparent blue and an earthy orange that would produce a natural grey tone when overlaid on each other. Only at the end would he add just a few touches of more vibrant color.

Below, in this next apparently unfinished piece that he painted in Oxford, you can see just how these opposing tones create a grey.

Joseph Mallord William Turner, Oxf, St Mary's and the Radcliffe Camera from Oriel Lane.jpg

It was a tone Turner used as the basis for much of the image’s structure. This is not far off the method used by earlier artists … from Jan van Eyck to Holbein … a grisaille underpainting with layers of ever stronger clear color glazing and a touch or two of possible semi-opaque or opaque color at the very end.

As Turner matured, we can see that he became surer and surer of using more direct modulation of color. He still often began the sketches with graphite line work, but even those marks, as well as much of the subsequent brushwork, became less and less purely definitive of physical detail; ever freer and more expressive of visual and emotional experience.

Artwork page for ‘Heidelberg Castle from the Hirschgasse’, Joseph Mallord William Turner, 1844.jpg

Above we have again have an unfinished piece. Notice how both lines and color marks, while very much related to the things, the physical phenomenons, that they record, these marks a not as physically precise. Instead they are more spare and simple, leaving more room for the artist and eventually the viewer to complete the intent of the image.
‘Shields Lighthouse’, Joseph Mallord William Turner, c.1823-6.jpg

We can see in this late (1823) sketch of a coastline with a lighthouse, the now bolder, even rougher use of brushwork.  And as his career continued he even achieves an a nearly incorporeal quality, images were composed only of the shaped wavelengths of light we call color.

 

I was recently reminded of all this when a recent article came across my desktop. That e-article highlighted five of my all time favorite artists (I admit to having at least a top 25, maybe more). Each of these is a painter who

turner, "Norham Castle, sunrise”.jpgworked on easel paintings as well as aqueous media on paper. The problem was that, while the it was well written and talked about the specific paintings of these five near heroes of mine, it only showed the works of four of them. The author wrote about Turner’s watercolor sketches of the burning Houses of Parliament, but omitted any example of those pieces. Ouch!

 

The-Burning-of-the-Houses-of-Parliament-1834-JMW-Turner.jpg

The Burning of the Houses of Parliament                                                                                                            J.M.W. Turner, watercolor, 1834

So, I guess this is my visual form of a rant of sorts; sharing the images they might have included in the e-article (the first and last images in this blog) … and a few more to boot.

Here’s hoping you enjoy them.

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Going from study to “finished piece” … and back again!

January 9, 2014

Earlier this week I posted about a work (the working title was “Vixen”) that I finished a bit before the end of 2013.

Voxis Vulpis, mixed media on Mylar, 2013

Voxis Vulpis                                                            (the previous working title was “Vixen”)                                                         60×42, mixed media on Mylar, 2013

That piece is part of my on-going Natural-Family-History series; a group of large to installation sized mixed media draws that incorporate and align images from nature/natural history and from my family history as well.

Most of the time I work up the constituent parts of the drawing’s content pretty fully; If for no other reason, it becomes necessary to do so because of the size of these works. Most of the time though, I don’t plan the entire composition. It isn’t that I can’t. I certainly have worked that way in the past. I taught my students how and why it can be such a great practice.

Instead, I have been using a modified, jazz influenced praxis. Utilizing a hybrid hand-digital sketching process for the parts of the drawing, I can then create digital enlargements. Then I work up multiple sizes of the visual elements. With these and projections, I can experiment and improvise … sliding the pieces around as if in a collage.

Now, that has been the practice of late. But ever-so-often I do back track to a more traditional way of working and produce some  1/4 to 1/2 scale studies. In fact, the mylar drawing, Voxis Vulpis actually began as just such a study on paper. I thought it might be interesting to look at how I tried  to work up the image/idea. And how the study went so very badly … and made a come back … as a very different work!

view of studio wall with study, sketches and visual resources

View of studio wall with the 36×27 inch study on paper after I erased the fox image.                                          Notice the red pencil sketch of the seated fox looking leftward and also the visual resource photograph of a fox as well

early stages of a study for "Vixen" 36x27 mixed media on paper

early stages of a study for “Vixen”                                                             36×27. mixed media on paper

To the  left is a view of the studio with the study at an early stage of the process. Note the visual resource photo and the red sketch of a seated fox pinned to the wall. The messy, playful, nearly random staining underlayer is visible … as is basic drawing of the Hawthorn branches, leaves and thorns that had been begun for the top section.

detail of the study, using a raking light to reveal remnants of the erased head of the fox

detail of the study, using a raking light to reveal subtle remnants of the erased head of the fox

If you look carefully in the lower right hand area of the study, you can see remnants  of the drawing of the seated fox planned for this section of the of the composition. The B&W image to the right may help you see the erased head, snout, and nose of the fox just a bit better.

Upon reflection, I made a pretty massive change in the direction of the image. I thought the scale to be all wrong and I was also disenchanted with that pose. I even began to dislike the drooped head posture for this piece.

After erasing the head and body of the fox, I planned to add a different version of the fox. As I made that decision, I also began working up the additional design elements on the larger mylar piece this study was the preparation piece. As I worked on the larger work, I made the decision on the version of the fox I wanted to use; one that was in a standing position with the body oriented towards the viewer’s right … but the head still looking left.

I also altered the idea of the Hawthorn branches and thorns from being done in tonal dry media … into creating them with a rich black ink.

At this point I abandoned the study.

A bit later, as I was working on another large mylar piece, I looked across the studio and saw the unfinished study still up on a wall mounted drawing board. Whether by serendipity or some internal decision making process that I was not aware of, I decided to give that sheet of paper another go.

Since I was working on a 10 ft drawing that was going to need a bird known as a Tufted Titmouse, I figured I would try adding one of those to the composition. I had drawn some before … as studies for the larger work … but had not yet included one in a composition. So here was a chance to do so despite this piece being very different than the mylar one.

My First Encounter with the Wild 36x27, mixed media on paper, 2013

My First Encounter with the Wild 36×27, mixed media on paper, 2013 

Once I added the perched Tufted Titmouse work needed some more darks through the middle section. After working up the darks in the middle and some additional changes to the top register of the page, I backed off. I let a couple of days go by … looking from time to time while in the studio. After some small adjustments … I stopped  “tinkering” and decided it was done.

Now that it is complete, I realize that it isn’t really like either of the finished works it helped me prepare for anymore. That’s ok. The “study” went it’s own way and is now an independent work. I like it enough that I think that I’ll include it in my upcoming exhibit at Mary Baldwin College.

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