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  1. #1
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    TomAzza - Composition 1.1

    Hey folks,

    Jason, thank you for the videos and for the opportunity, I'll just upload the studies as i dish them out..

    1. Caravaggio - Il martirio di San Pietro

    Name:  Caravaggio_Martirio di San Pietro copy.jpg
Views: 2686
Size:  112.3 KB

    I chose this particular piece first, because I have always ben captured by the rythms and continuity of it: the eye is immidiately drawn to the main emphasis, St. Peter due to the higher value and contrast of his skin against the almost black background, the eye is then forced to follow the line though the wooden cross and the rope, up to the last figure, Caravaggio also has a very smart way of economizing, as most of his more "mature" works seem surrounded by shadows and darkness, leaving only the subject matter in a sort of diffused-spotlight lighting;
    The piece maintains it's balance due to the high contrast values of the figure on the bottom and some detailing and object painted in the foreground on the bottom.

    2 N.C. Wyeth - The Indian Lance

    Name:  NCWyeth_indian Lance.jpg
Views: 2754
Size:  135.4 KB

    This piece by Wyeth has a very dynamic continuity, the implied line that goes from the horses head to it's hoofs is crossed by the line traced by the rider's arms and shoulders, and almost parralel to his spear; the main point of interest is very clear as the heads of rider and horse, while the lack of detail and form of the hoofs contribute to a sense of movement

    3 Friedrich - wanderer above the sea of fog

    Name:  Friedrich_The_wanderer_above_the_sea_of_fog copy.jpg
Views: 2662
Size:  97.7 KB

    This piece has very interesting rythms in the jagged adges of the cliffs, almost repeated thoughout the foreground and midground,

    The main emphasis is on the central figure, whos high contrast in value is reinforced by the converging mountains in the distance,

    while there are many economized areas where the fog lies, they remain slightly broken by very light shifts of value indicating moutinains in the distance that help keep the focus in the center of the piece.


    hope it's allright so far, i'm having a ton of fun with these assignments,d i'll upload more as soon as I've done them


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  3. #2
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    These are excellent. my only comment is to keep watching for important value areas...the spot under the horse on his knee helps act like a pivot point and suggest movement...and his legs are in reality a little closer together than you have them. This is nitpicky but something to be mindful of. Flip the image and check your shapes before you upload. like a quick last pass to check overall value structure and shapes.

    Keep up the great work. I will check back.


    JM

  4. #3
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    Quick update, only had time for one this evening..

    4. Frederic Edwin Church - The Natural Bridge

    Name:  Church_Natural Bridge copy.jpg
Views: 2560
Size:  104.0 KB

    High contrast in value and a very strong rythm are used to distinguish the main emphasis of the bridge in this piece,the window under the bridge has a higher value, which gives the image much more depth, while the figures on the bottom are necessary for a sense of scale, they also keep the image balanced by creating a point of interest on the bottom of the piece

  5. #4
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    5. Sargent - Reconnoitering

    Name:  Sargent_Reconnoitering.jpg
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    Attached Images Attached Images  

  6. #5
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    last update for today.. another two pieces from Friedrich

    6. Friedrich - Sea of Ice
    Name:  Friedrich_Mare di Ghiacchio.jpg
Views: 2237
Size:  90.8 KB

    Friedrich uses repetition of rythms across the piece to set the mood and create continuity throughout the piece, the jagged edges guide the viewers eye from the bottom to the top of the picture

    7. Friedrich - Cloister

    Name:  Friedrich_Cloister copy.jpg
Views: 2216
Size:  107.5 KB

    This piece also has a intense repetition of rythms in the branches of the trees, the converging lines that follow the main tree trunks frame the subject matter and main point of emphasis of the ruins, while it is a dark scene, there is a wide range in values, which creates a more dramatic image

  7. #6
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    Six looks like it could use a few more mins but seven is looking awesome. great job.

  8. #7
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    Thanks for the feedback Jason!

    Unfortunately N° 6 turned out much more complicated than expected, and it took me quite a while to get the shapes down, i guess speed will come with time..

    8. Bierstadt - looking down Yosemite valley

    Name:  Bierstadt_looking down yosemite valley.jpg
Views: 2254
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    The most noticeble aspect of this piece is how Bierstadt uses the rocky rythm of the mountains to guide the viewers eye through the painting, the value shift and the direction of the implied lines that folow the ridges of the rocks, give a very strong sense of depth to the piece

  9. #8
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    great job...the mountain on the right looks a little bit narrow, and the darks just toward the viewer from the mtn on the right, looks like they could darken up a bit. great work.

    jm

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    Thanks Jason! I noticed the shape on that ridge is way off..

    9. Caravaggio - I BariName:  Caravaggio_I Bari.jpg
Views: 2191
Size:  101.7 KB

    Name:  Caravaggio_I Bari.jpg
Views: 2191
Size:  101.7 KB

    The underline continuity of this piece is reinforced by the figures lines of action and gestures and keeps the viewers eyes locked in a triangle that go from the man in black, to the man in the backgrounds hands,and finally to the third figures hands,Caravaggio uses composition and continuity to tell a story and create character

  11. #10
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    Thanks Jason! I noticed the shape on that ridge is way off..

    9. Caravaggio - I Bari

    Attachment 1904505

    The underline continuity of this piece is reinforced by the figures lines of action and gestures and keeps the viewers eyes locked in a triangle that go from the man in black, to the man in the backgrounds hands,and finally to the third figures hands,Caravaggio uses composition and continuity to tell a story and create character

  12. #11
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    Thanks Jason! I noticed the shape on that ridge is way off..

    9. Caravaggio - I Bari

    Name:  Caravaggio_I Bari.jpg
Views: 2191
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    The underline continuity of this piece is reinforced by the figures lines of action and gestures and keeps the viewers eyes locked in a triangle that go from the man in black, to the man in the backgrounds hands,and finally to the third figures hands,Caravaggio uses composition and continuity to tell a story and create character

  13. #12
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    excellent work. I am looking forward to seeing more. seems you have a distance shape size isssue on the right side of the image just a bit...check the distance from the feather to the edge of the format. nit picking now...keep it up.

    j

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    wow man you are amazing, you should make a sketchbook or something, keep up.


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    Quote Originally Posted by Jason Manley View Post
    excellent work. I am looking forward to seeing more. seems you have a distance shape size isssue on the right side of the image just a bit...check the distance from the feather to the edge of the format. nit picking now...keep it up.

    j
    Thanks Jason, Yeah that distance was bugging the hell out of me because i couldnt properly trace it back to some major proportion mistake.. and i just realized i cropped the image too much, and my canvas was shorter than the original..

    Quote Originally Posted by Buxu View Post
    wow man you are amazing, you should make a sketchbook or something, keep up.
    Thanks man!

    10. Bierstadt - A storm in the Rocky Mountains, Mt. Rosalie

    Name:  Albert_Bierstadt_-_A_Storm_in_the_Rocky_Mountains,_Mt.jpg
Views: 2060
Size:  79.3 KB

    This piece is incredibly dramatic, the use of very high contrast in value from the dark clouds to the sunlight hitting the lake create a major point of interest, his rythms in the rocky slopes of the mountains guide your eye across the painting to the tree in the center

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    11. Achenbach - On the coast of Capri

    Name:  On_the_coast_of_Capri_Achenbach_Andreas copy.jpg
Views: 2031
Size:  91.5 KB

    I find the balance of this piece to be interesting, as the horizon splits the plane in half, the bottom rythms and repetition of forms in the rocky slopes in the foreground and midground are balanced by the rythms in the clouds, while the top half of the image tends to be "heavier" to the right, the bottom half is more powerful on the left side, which creates a almost elliptical underline continuity to the piece

    - - - Updated - - -

    11. Achenbach - On the coast of Capri

    Name:  On_the_coast_of_Capri_Achenbach_Andreas copy.jpg
Views: 2031
Size:  91.5 KB

    I find the balance of this piece to be interesting, as the horizon splits the plane in half, the bottom rythms and repetition of forms in the rocky slopes in the foreground and midground are balanced by the rythms in the clouds, while the top half of the image tends to be "heavier" to the right, the bottom half is more powerful on the left side, which creates a almost elliptical underline continuity to the piece

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    I like the crispness in your images, you are not the victim of washed out effects. Only a few more to go to the Level up ! keep it up !

    (>^.^)> Sketchbook <(^.^<)

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  19. #17
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    12. Caravaggio - San Gerolamo

    Name:  Caravaggio_San Gerolamo copy.JPG
Views: 1320
Size:  91.5 KB

    Caravaggio uses economy to frame the piece in darkness, the piece is horizontally balanced,creating two distinct point of emphasis in the head of the saint and the skull on the book, due to the use of rounded shapes and contrast in value, the arms and the books create a continuos line that takes our eye back and forth thoughout the piece, the white cloth under the book on the left balances the clothing of Sain Gerome

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    Great work sir! I like your selection of landscapes. You've inspired me to try for something a with a little bit more grandeur. I'm having trouble finding 20 paintings that I know and love. I know, I know. I'm terrible. Mind if I give one of yours a try?

    Also, I feel like your skill experienced a snap, pow, jump with that Friedrich - Cloister painting? Am I right?

  21. #19
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    These are really really good. i am starting to run out of things to critique and that is exactly where i hope for all to get. You are very talented and the hard work is paying off. Keep it up!!!

  22. #20
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    Quote Originally Posted by ThomSnake View Post
    Great work sir! I like your selection of landscapes. You've inspired me to try for something a with a little bit more grandeur. I'm having trouble finding 20 paintings that I know and love. I know, I know. I'm terrible. Mind if I give one of yours a try?

    Also, I feel like your skill experienced a snap, pow, jump with that Friedrich - Cloister painting? Am I right?
    Hey man, thanks! It would be really interesting to see how different people take on the same study, I'll be looking forward to it!

    Quote Originally Posted by Jason Manley View Post
    These are really really good. i am starting to run out of things to critique and that is exactly where i hope for all to get. You are very talented and the hard work is paying off. Keep it up!!!
    Thanks again Jason! Before starting here i never really seriously tried painting, these lectures and studies have really helped me a lot! Can't wait to "Level up" and get to the next lectures and assignments!

    13. Sargent - Frank O'Meara portrait

    Name:  4-Frank-OMeara-portrait-John-Singer-Sargent.jpg
Views: 1303
Size:  92.4 KB

    Sargent concentrates details and more accurate strokes in the eyes, the main emphasis of this portrait, the piece has large areas of economy, the background blends with the clothing and with the hair, leaving just slight variations of value in the hair to indicate form

  23. #21
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    great job on edge play...I think you could maybe pop a few of the sharpest sharps. the other area is in the drawing...your structure is slightly off so it is off a bit on the likeness. Slowing down for ten or fifteen mins in the beginning to be sure you get it mapped out well, will really help in the long run and the rest of the painting will come along much easier.


    j

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  25. #22
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    Quote Originally Posted by Jason Manley View Post
    great job on edge play...I think you could maybe pop a few of the sharpest sharps. the other area is in the drawing...your structure is slightly off so it is off a bit on the likeness. Slowing down for ten or fifteen mins in the beginning to be sure you get it mapped out well, will really help in the long run and the rest of the painting will come along much easier.


    j
    Thanks Jason, I realized for some reason portraits are much more difficult for me, so I decided I'm going to concentrate on what feels out of my "comfort zone", and keep doing them

    14. Sargent - portrait of a girl

    Name:  Sargent-portraitofagirl copy.jpg
Views: 1295
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  26. #23
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    beautiful work. you are just a little high key in the shadows on the face....and the shapes on the clothing are a bit different. I will keep on you. You get too close to not be just a little more honest about the master work. You are getting quite good at this. Keep up the good work.

    j

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  28. #24
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    Thanks again for the feedback Jason, I've picked up on all the things i cold have done better on the previous piece and I'm starting to feel slightly more confident in these

    15 Sargent - Albert de Belleroche

    Name:  sargent - albert de belleroche.jpg
Views: 1280
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  29. #25
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    Excellent work. You are making good progress with your shapes, edges, and values. You might want to introduce a textured brush for the images that surface is so key to the piece. That seems to be the main area to be aware of as you continue through these. keep up the great work.

    J

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    16. Rembrandt - self portrait

    Name:  Rembrandt_selfportrait.jpg
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  31. #27
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    Excellent. Let's get a bit of the texture in there in the next images. You are using overly smooth brushes and texture and surface is key to some of these.

    Looking forward to the next update.

    jm

  32. #28
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    Excellent. Let's get a bit of the texture in there in the next images. You are using overly smooth brushes and texture and surface is key to some of these.

    Looking forward to the next update.

    jm

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    your studies are getting better and better...I think 9 and 12 are really interessting compositions. Oh, and 1 of course...

  34. #30
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    Quote Originally Posted by Jason Manley View Post
    Excellent. Let's get a bit of the texture in there in the next images. You are using overly smooth brushes and texture and surface is key to some of these.

    Looking forward to the next update.

    jm
    Thanks Jason, I must have overlooked you last comment about texture, but i tried to include some in this last one

    17 Sargent - A Bedouin

    Name:  sargent-bedouin copy.JPG
Views: 1194
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    I noticed how Sargent has a very smart use of economy and contrast in his portraits, while he uses sharp and defined edges and contrast where he want to put the major emphasis, in this case, the robe of the bedouin is merely indicated, almost abstract brushstrokes, that guide the eyes in a spiral that goes from the bottom to the right side of the head and finally focuses and rests on the face
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