Sketchbook: Master Copies

Sketches after Ingres, "Bather", 1808
and Carravagio, "Lute Player", 1596

Sketches after Rubens, "Descent", 1612
and "Apotheosis", 1691

Sketches after Reni, "Deianeira", 1621

Sketch after Robert Campin,

"Portrait of a Woman", 1420

I bought the beautiful book Sister Wendy's Story of Painting because I wanted to refresh my art history knowledge with a general overview. Sister Wendy (of PBS Special fame) has written an inspiring survey of art, with hundreds of high-quality color reproductions.

The format is similar to Eyewitness Guidebooks, in that the information is presented visually with lots of sidebars and with a storytelling style of writing, great for a general survey. She has included an illustrated time line for each major period of art history, which is great for visual learners.

Sister Wendy tells the history of painting in terms of the constant sweep towards and away from Classicism, the swinging between Northern and Southern European influences, and between Catholic and Protestant perspectives. After reading the book I feel like I could plot all of art history along these major axis.

As I read the book I put a sticky note on every painting I found especially interesting, and now I'm going back through all the bookmarked pages to do sketches. I've found when sketching from a heavy book, it's good to set it up in a cookbook stand. And try to keep the cat away from the piles of graphite shavings.

Silver Globe Pitcher: Underpainting

Globe Pitcher underpainting
oil on panel
16 x 20 inches
(work in progress)

This is the completed underpainting for my most recent Wax Paper Series painting. I started this composition with sketches and a detailed contour drawing you can see in this previous post.

Using trace paper I transferred my drawing to the gessoed panel. I refined the drawing directly on the panel in pencil.

My goal was to get a very accurate drawing that described the gesture and energy of the crumpled paper, as well as a very precise geometry for the silver globe pitcher. Badly drawn round and elliptical objects in still lifes look wobbly and unconvincing, so I took a lot of time to make sure the silver globe is the correct shape. The pitcher needs to have a believable structure to make the whole painting convincing.

Contour drawing transferred from paper to panel

Once I was satisfied with the drawing (although I'm never satisfied with the drawing) I moved on to a transparent wash underpainting. Traditionally artists use a tiny brush to outline the contour drawing to "set" the graphite. I've never felt the need to do this, I find that this first wash layer of underpainting sets the graphite and I don't ever notice the pencil marks mixing with the paint in later stages. Most traditional artists would advise against this, though.

First layer of the underpainting

With the underpainting I "knock down" even the lightest lights. I've learned it's annoying and difficult to paint white paint over a white ground, so I cover every part of my surface with at least a light layer of umber paint. But I try to get a fairly full range of values so I can get a feel for what the whole painting will look like.

Second layer of the underpainting

Below I have finished the underpainting and started a small part of the opaque layer. The underpainting is transparent, meaning I use turpentine to thin the umber paint to show the white of the panel beneath. The opaque layer uses white oil paint.

Final stage of the underpainting

As you can see in the final underpainting above, there are some patchy "dry spots" especially in the upper left dark area of the painting. This is where the paint has started to "sink" into the gesso ground, and the more matte areas look chalky. This will be solved with later layers of medium-enhanced paint, so the background will look deep and dark.

So far I am really enjoying working on my hand-gessoed panels. The surface is silky and smooth but the paint really seems to "grab" it. It feels good to paint on. Which makes me happy, because gessoing the panels was a lot of work!

Below is a closeup of the beginning of the first opaque layer of painting - you can see where the upper areas of wax paper are more white and refined, that's the opaque layer:

Detail of first layer of opaque painting over transparent underpainting

To bring the painting to a convincing finish I'll have to work at least two more layers of opaque paint over this layer, probably several more in many places. At this stage I'm just laying down a "bed", so the general values and basic colors are correct. With these decisions solved I will be able to really focus on one area at a time without having to constantly back up and compare the values and colors to the rest of the painting.

See the previous blog post about this painting here.

Waterhouse's Mermaid

JW Waterhouse's "Mermaid"
and my copy done at age 12

I was reminded of my early love of this painting when I listened to a podcast lecture about Waterhouse from the Art Renewal Center website a few days ago.

The painting came to my house on the cover of Smithsonian Magazine in the early 80's and I fell in love with it. My drawing of it was taped to my bedroom wall for all of my early adolescence.

I had no idea how the painting fit into art history until a few years ago, as Waterhouse and the Pre-Raphaelites, if mentioned at all, were only a small footnote in my art history studies in art school. It was painted in 1905, when a few other things were going on in the art world around that time.

Despite the sentimental and politically loaded subject matter that squarely dates the image, I certainly could have learned a lot about figure drawing in my youth if I had known of and continued to copy the masters of the 19th century academic painters.

An interesting tidbit from the podcast: Waterhouse married a fellow painter, a woman named Esther Kenworthy. According to Peter Trippi, the expert on Waterhouse interviewed in the podcast, Esther "gave up painting" once she married Waterhouse.

Head or Heart?

Just read this quote in an SF Chron article about a contemporary operatic composer named Jake Heggie:

Heggie had been taught in school to "write from the head." Modern composers tend toward abstract, dissonant sounds, not melodies.

"I tried," Heggie says. "It's not me. It's when I took the good things from school - skills in counterpoint and harmony - and wrote from my heart that my work started to flourish."

This really resonated with me as I have been struggling recently with pinpointing the difference between so-called "abstract" and "realist" art.

I could venture into deep water really fast here, but I'm curious what other people think.

Is so-called "Expressionism", art after 1910-ish, for lack of a term, "art from the head"? (That would explain those long complicated artist statements).

Is so-called "Realism", both pre-1900 and current movements, "art from the heart"? (That would explain why contemporary realist art is derided as sentimental so often.)

Our difficulty with terminology for these movements is indication of our problems conceptualizing them. But most people know immediately if they are looking at "modern art", and think of it as sharply distinct from "old masters art".

Is Expressionism more emotional than representational work? It's supposed to be pure feeling, right, pure expression abstracted/taken out of the eye's understanding of the world? But isn't Realism more sentimental - therefore more "emotional"? Abstractionists would say realism is a false sentiment. And realists would say abstractionists are cynical. And round and round.

Is one the work of the mind, the other the work of the eye?

A class I took about the science of visual perception in college has stayed with me these 15 years, I think about it all the time. The class taught me that what we call "seeing" involves much more than simply the light that hits our retina. The light rays our eyes perceive are processed at many levels of the brain, from simply noticing movement or flashing lights, up through recognizing the illusion of space and form on a flat surface.

Is abstract art just another level of this, art that is produced in a different area of the brain than representational art? Maybe an "abstract" level of the brain it took Freud and the horrors of the World Wars to make us aware of? Maybe a more word-oriented, idea-oriented part of the brain? I find I discuss theory with my abstract artist friends and I discuss technique and history with my realist artist friends.

I am scouring my art books these days for explanations of the moment when interpreting what hit our retina switched to expressing what hit our mind's eye.

Interpretive versus Expressive? Is that an accurate delineation? Expressing what? Is our experience of witnessing an emotional scene understood by our brains in an abstract or literal way?

Can we trigger emotions like awe and distress with abstract art? Does representational art now fail to trigger these feelings in many people, ever since our former concepts of "self" and "humanity" were destroyed by industrialization and world war?

Is art about feeling? 20,000 years of humans representing the physical and visual world have been recorded. Is art control over our experience of an uncontrollable environment?

Surely 20th/21st century life is equally traumatic and fulfilling as it was when we huddled around fires 20,000 years ago? Our lives are no longer "ugly, brutish and short", but is our despair deeper?

I've also been thinking about that blog post I linked to last week, and what has stayed with me is the author's frustration at having to defend the validity of a now-100 year old art form over and over. And I realized feeling attacked and misunderstood is also part of the abstract artist's experience. We realists have to deal with being called sentimental which gets old - and we get tired of having to defend the validity of a 1500 year old art form over and over....

Anyway, more posts with pictures coming soon. I've finished the underpainting and am waiting for it to dry another couple days. In the meantime I'm sketching from Ye Olde Master paintings. (I'm more in love with Guido Reni every day.)

Will post the results of both soon.