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I'm happy to begin with my first assignement. At first I felt a bit uncomfortable seeing all the great works in here, I think they are all way above my level. However, I'll give it a try.
My first study relates to the work of the german painter Carl Blechen: Grotto in the parque of Villa d'Este.
I chose it as i thought it would not be to complex for a start. But working on it I got more and more impressed of it. There was much to dirscover. How tricky he balanced the weight of the two monks with the dark shadows on the left side of the Grotto. I enjoyed how he guided the viewers eye with the crisp shadows of the stony structures, as well as i was impressed by the many varyiations in the caves outer edge contrasting to the mostly undefined background.
Now I'm looking forward to your critiques!
Here goes #2: Birth of Venus
The amazingly detailed Masterpiece by Alexandre Cabanel has a strong rythm and plays with repetition and variation. Look how the flock of angels make up an almost symetrical counterweight to the lying Venus.
The study took me about 70 minutes.
Next one: Japanese Woman by Bertalan Szekely
I love the way he has arranged this piece. The playing with strong lines visible throughout the picture. Finally I discovered that he balanced her body with the lighter drapery at her legs.
I like this practise.
I just finished number 4: The study of Monica in Oil by Fabian Perez.
I am deeply impressed by his focussing on the emotive side of the portrait by light. The work appears almost photorealistic although he uses realtively rough strokes. Note how he reduces the amount of detail in the areas out of foucs to the absolute minimum.
Here goes my No. 5:
Salvador Dali: dream caused by the flight of a bee around a pomegranate a second before awakening
Dali was the artist which really caught me when I was a boy of about 12 or 13 years. And he should accompany me for many years. I read a lot of stuff he wrote, and I am still deeply impressed.
The study turned out to get really painfull for me, as I underestimated the amount of concentration it would take me to stick to it. Now I am simply happy that its finished. Usually I work on the whole picture at once, but this time I felt more comfortable with creating the pictorial elements as they appear in the cosmos of the image. It really felt like one was born from the element behind it until the last dark shade, the bayonet, touches Gala, Dali's Venus. Somehow I sense 2 triangular shapes of almost equal size in the work: the dark horizontal - with the pomegranate at its tip an the cliff as the root - versus the light triangular with the elephants obelisk at its tip and the plane beneath Gala as its root. and both shapes have an opposite colored circular form at the almost same position: The white circular form right of the elephants leg versus the dark little pomegrante with the bee at the lower part of the imagine. Impressive.
By the way: It took about 2.5 hours.
Note the pretty simple, almost geometric background while there is a vast of detail to observe in the well composed elements.
Good work! I really like your last Dali, as well as your study of the Birth of Venus. My only critique would be, don't be afraid to use darker values for your darkest darks. All of your paintings tend to be lower contrast than the originals.
Keep it up!
@caitlyn: Thanks a lot. You are absolutely right, i'll try to work on my contrasts.
Today I studied de la Roche: Lady Jane Grey
What an impressive work of him. I did not observe its emotional impact before I did study it. And it leaves so many questions to the viewer. I love how it emphasis in different levels.
It tried to work on my contrasts as well as i tried to speed up working, thus this one might appear more rough. I hope its still detailed enough!
This time I have chosen Gerhard Richter: The Reader
Everytime I see his portraits, I am astonished by the life - likeness he achieves with a very economic use of details. His rendering of the values is outstanding.
I still trie to push my contrast working a bit further.
Just a quick study this time: Caspar David Friedrich: Sea of Ice
I love its strong rythm and how he brakes the hard edges with softer snow structures. It is full of variations of the different stone and ice types, which makes it look even more impressive. The shipwreck on the right pops out even more as its outline is the only unique part of the piece.The distant mountain in the upper left is an almost exact duplication of the structure in the focus, by this repetition the eye is guided into the depth of the picture. The original work is amazingly detailed.
O.k., next one done:
Vuelo de Brujas (Witches Flight) by Francisco Goya
I like the atmosphere of the piece. Its darkness and the way the scared guy in the centre is emphasized to explain the scene above: 3 witches which caught a guy, maybe sucking his blood, or whatever. Without the guys on the floor it would be hard to read the work. The donkey finally appears to be a symbol for something I don't actually understand. The people of Goya's time might have understood. I should consult wikipedia on it.
Half way thorugh now.
This time I rethought my techinque. It finally brought me to a point where structuring and planning of the painting gets more easy.
This time its Hendrick ter Brugghen: The Merry Drinker.
I love its rythm and flow. Its amazingly detailed in the areas hit by the light, in the rest of the piece ter Brugghen used detail very economically.
Next one: eugen de Blaas: The Flirtation
I really like the lighting of the piece.It looks so natural. The repetition lies int the rythm: The heads, the shoulders, the hands, the feet... they all form almost identical curves pinting to the upper right of the image.
On we go:
Herbert James Draper: Lament for Icarus
I like the way the dead Icarus is emphasised by the strong contrast of the light nymphs and feathers surrounding him. The almost rectandular angle of the dark wings supports that, while the landscape in the background balances the main scene.
About 90 minutes.
My next study shows Jan Vermeer: Christ in the House of Martha and Mary
It was a bunch of work to paint it... especially as drapery is something I really struggle with.
When I first saw the piece, I immediately assumed that the guy was Jesus. I wondered why I associated it with him, although the scene is not a typical one at the first sight. Maybe it was the pose? By studying it I observed a discrete corona of light behind his head, which I never have paid attention to before.
Ok great to see where you are at. When you are first getting started it is very important to really focus in on the mapping out of your shapes as accurately as you can possibly get them. If you put a shape in the wrong place and commit you end up having the other shapes off and require fixing, which increases painting time. By taking just a few extra minutes early on to measure out your shapes, to compare your shapes, and be sure they are placed and drawn accurately will make the rest of the painting process, working out your values and edges, much much easier.
You should flip the images horizontally and vertically so that you see the shapes with fresh eyes. This should be part of the process and if you are already doing that, keep doing it more. The professional artists will often flip images or use a mirror to see with fresh eyes as many as three or four times a minute as they are working when things really get flowing. You can also back away...actually get up and back away...and doing this works for shapes as well as checking values and edges.
Keep up the good work.
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These are stellar and you are absolutely on the right track. My only comment would be to use textured brushes to pick up some of the surface quality of the thicker areas of the paint when surface is so obvious. That will bring these to the next level and help with atmosphere and capturing the essence of the work. A bit more analysis of the compositions would be great to see too.
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