Study of alberto Giacometti

When focusing on Models 1 and 2 I got drawn to the body which was shown in my work. Our body has always been an interest which means this is the reason why I made a decision to study portraits for Device 3. There were a number of things about portraits that interested me. To begin with the idea of sketching/painting a portrait of someone and getting it to resemble see your face was an exciting idea for me personally. At a more youthful age I had been interested in getting a likeness of the models I'd draw. I wanted to build up that ability. In the past when I got drawn from life I needed only used pencil. By choosing this as my theme I recognized this might give me the chance to attract portraits using other marketing.

The first musician who helped me start this task was Pablo Picasso. I spent much time studying Picasso by looking at his different periods. I started along with his African motivated work. However it wasn't until I examined his Rose and Blue Period that I really became interested in portraits. It was this age of his work that inspired me to study portraits. His works in the Blue Period captured my imagination. I feel they are powerful in capturing mood and emotion through Picasso's use of colour, realism etc. This was something that forced me in the direction of portraiture. I wanted to capture feelings and emotion in my own portraits. He was the creativity that led me to review other designers including Giacometti and Lucian Freud. I analyzed artists which got relevance to might work also to the themes I needed to explore.

Alberto Giacometti:

The first musician which I examined was Giacometti.

The son of your painter, Alberto Giacometti was born in Stampa on Oct 10th 1901. He started out to attract and model at an early age and in 1919 he enrolled at the ecole des Arts-et-Metiers in Geneva. He travelled in Italy in 1920-1921. He examined with the sculptor emile Antoine Bourdelle at the Academie de la Grande Chaumiere in Paris from 1922-1925. After posting a studio in Paris with his sibling Diego from 1925-1927, Giacometti set up his own. He would often use his brother Diego as a model.

I analyzed his family portrait of Jean Genet. Giacometti's approach with line pulling and gesture was something I needed to explore through my very own work.

Another painting which reminded me of his style was a family portrait of Giacometti.

I selected this portrait due to artist's style in gesture pulling. I had been interested by his capability to capture his model's expressions through brand and gesture pulling. I used this technique in my initial sketches in order to feel my way around the topic. Something that I came across very interesting was choice in color. The colorings he uses in this specific portrait are all very warm (consisting of different colours of browns). They give a sense of friendliness and comfort the expression on the model's face appears quite miserable and cold. I came across this to be relatively of an paradox. This use of expressive shade I found very fascinating and was a concept that led to more research for my task.

I decided to paint a home portrait keeping these paints in mind. It resulted in the creation of an self portrait in this style using similar colours too. One method the designer has used which i tried to show in my own work was the layering of coloring thickly. I felt this added volume and history to the portrait. Giacometti uses strong and heavy layers of car paint to be able to emphasise the contrast between light and dark. He paints a dark amount on light backdrop. I came across the consistency of the brush strokes very interesting but also hard to build in my own work.

Giacometti usually focused on sculptures of our body and for one of many portraits he created, that one shows how skilful he was at creating information.

I think the primary aspect, of his paintings I've studied, that captures my interest is his design of painting. He uses free brush strokes and clean strokes which can be applied like the crosshatching pencil strokes in a pulling. The figures he creates with these clean strokes I think are most reliable. I have tried to use mark making in my own work in this manner.

Francis Bacon:

Having completed my home portrait I started to believe that it would be a good idea to try and take expression in my own work. I was enthusiastic about Francis Bacon's expressions that he created in his model's encounters. Often distorting the faces, Bacon's portraits and home portraits motivate the boundaries in portrait painting. The spirits in his paintings is often sombre. Bacon uses dark colorings such as dark renewable, blue and black. A lot of his work conveys emotions of fighting and despair. His work is similar to that of cubist style painting and reminds me of Picasso's work, including the 'Demoiselles d'Avignon, ' specifically the facial expressions of the numbers.

I researched 'The Screaming Pope. ' Bacon completed this painting after being influenced by Velazquez's portrait of Pope Innocent X in 1953.

Bacon creates a claustrophobic and nightmarish field. The body of the pope is ghost-like. He appears useless or like he is dying. There is a haunted experience the painting. The screaming face of the pope and the strokes down the painting increases the horror of the image. You can almost notice his cries. I am not sure why Bacon made a decision to create such a horrific image of a spiritual figure who is seen by many as someone holy and graceful. Bacon may be expressing his feeling toward religion or to the concept of the pope. The fact that Bacon was a catholic who later arrived as homosexual, perhaps he was suffering from quiet retribution. He may likewise have been challenging the status of the pope, stunning the public.

Bacon experienced asthma as well as allergies to horses and puppies. During his attacks, he was given morphine, a solid drug, which might explain a few of the creative expression in his work which have the quality of medication hallucinations.

I am enthusiastic about this family portrait; the colours convey a sense of horror. The usage of purple and silver compliment each other very well but also indicate riches and royalty. The dark-colored shadows in the backdrop may symbolize growing shadows about the figure. The usage of these colorings and the dark intense sense Bacon creates are extremely effective. When looking at the painting you can almost feel shivers down ones spine. The fact that you can see through the figure's robes which no legs are visible adds to the horror of the painting.

After studying this painting I felt compelled to create a piece looking to capture emotion similarly. I wanted to capture the expression in my family portrait as Bacon did. I did another self family portrait however that one differed from the first. I used different hues of blue acrylic coloring. I did not however coloring the whole face. Concentrating from the nasal right down to the neck I painted a piece where my mouth area was widely open. I did so this to capture a similar atmosphere which Bacon captured in 'The Screaming Pope. ' By focussing on the figures created by the mouth and cheeks, I had been pleased with the effect. However I feel that perhaps the consistency of the hardboard breaks up the brush strokes and makes the clean marks difficult to see.

Lucian Freud:

When it came up to studying Lucian Freud I used to be amazed by the way he creates skin area texture. One of is own finest bits of work was his self family portrait entitled "Reflection. " Portraits and nudes are Freud's specialties and with this piece it is clear to see why. The thing I came across most fascinating relating to this piece of art is the texture of the flesh. Freud appears to capture the natural and ugly character of the human being flesh. With this self family portrait Freud has effectively captured every wrinkle and crevice on the face. He uses strong comparison in shadow and features which is something I got under consideration with future paintings. His brushstrokes are carefully put on create an accurate portrait, whereas Giacometti's portraits and physique drawings have a far more abstract quality. Lucian Freud's portraits are so sensible that they become almost surreal. Freud catches every shadow and high light in a careful manner and I was interested in obtaining something similar in my work.

There is a solid relevance about the shades and paint he uses:

"I'd like paint to are flesh. . . my portraits to be of individuals, nothing like them. Not having the appearance of the sitter, being them. . . as much as i am concerned the coloring is the person. I want it to work for me just as flesh does. " - www. about. com/painting

Freud runs on the granular pigment called cremnitz white to attain his unique painting of the flesh. I merged sand with car paint to give more structure to my paint to imitate the consistency. I thoroughly savored dealing with it. I experienced it added identity to the family portrait and made the surface of the skin a lot more interesting.

I found the texture of the locks quite intriguing. I liked the hard and coarse look Freud creates and it was an option to try and achieve a similar look when painting my model's head of hair. However the scalp was probably the thing I needed most trouble with. I battled with structure and coloring. Perhaps I should have spent more time studying how artists paint hair put it into practice before applying it to a large portrait.

The manifestation in Freud's personal portrait is interesting with regards to what it is I am striving to achieve in my work. I've looked tightly at the forehead: the lines created from the artists frown. This is another thing that I wanted to achieve in my work.

Final Pieces

Self Family portrait: This family portrait was encouraged by the family portrait of Giacometti that i examined. Using similar colors I attemptedto get that similarity to his work. For a first attempt I really do not imagine I achieved this. I did however succeed in getting a home portrait to really look like me. This is a great boost of self-assurance for a first self portrait. Out of this piece I learned that I should create the background and plan it at the early levels of the portrait. I found that the background is just as important as the face when creating feelings or atmosphere.

Oil Pastels on Dark brown Paper: This is the first time I used essential oil pastels for a big piece. My aim was to try and set a disposition of strong feelings, so I went for feelings of anger and trend. This notion was influenced from paintings from performers such as Picasso and Bacon who use shade to control the mood of these work.

I used a solid red to do this, combined with dark for shadows, orange for mediums and yellowish and white for features. I drew from life. While looking in a reflection I attempted to pull myself with a manifestation of anger. From this piece I discovered how effective colour is at a portrait. For instance I possibly could have used an alternative colour apart from red and a different feeling of sentiment may have been evoked.

Open Mouth area - Acrylic on hardboard: The aim with this piece was to fully capture emotion, a sense of pain, fear or distress. I thought the use of different colours of blue would emphasise these emotions. This was influenced by works from Francis Bacon. The feelings in a few of his paintings such as "The Screaming Pope" appealed if you ask me and I wanted to portray that feeling through might work. However, I made a decision to take a different approach. Rather than painting my whole face I targeted only on underneath half, from the finish of the nostril right down to the chin. My intent was to fully capture the feelings from just the available mouth, when i felt that's where the majority of the strong feelings of emotion exist in Bacon's "The Screaming Pope. " Sight can often show a person's true feelings, so I wanted accomplish that without painting the eyes.

The recycling of the hardboard was chosen to give myself experience working with other materials. I used the hard part of the board to add consistency and to give the piece some more character.

In all I experienced I had efficiently created emotions such as pain and fear through not merely my use of any cold colour like blue, but by concentrating on the wide open mouth.

Portrait of Sibling: On A3 paper, I drew a portrait of my buddy in pencil, from life. Before this I had practiced pulling portraits in pencil from photographs. This was to get ready me for attracting from life. I needed to get a concept of shading, proportion, texture, etc. It had been a challenge drawing from life when i was quite more comfortable with drawing from images, however I had a need to take that step in order to develop my skills in pulling portraits. Looking at the family portrait now I see it lacks in volume. An obvious problem was that I only acquired a 4B and 6B pencil, therefore i learned the importance of having different levels of pencils.

The portrait required more time in acquiring the shows and shadows. I also acquired hook problem with measurements, as the eye were just a little out of percentage.

I learned to spend additional time in studying shading and be stricter with my measurements.

After drawing this portrait Then i photocopied it. Working with the photocopies I tried out to capture disposition atmosphere with the addition of coloring. I used blue olive oil pastels in the picture which in the end led to a colder ambiance. I also tried out to get a different result. After colouring the picture I scrunched the newspaper into a ball and dampened it with normal water. This then resulted in breaks on the page which I felt put into the mood, perhaps suggesting a spirits of feeling cool and cracked, etc.

I then used a photocopy to sketch it in a larger size and with different materials. Drawing on a sheet of dark brown paper larger than A2 I used chalk pastels with colours like orange, yellow and blue to try and get different effects. However I soon discovered that there surely is the right way and a wrong way to work with brown newspaper. I used the smoother side of the sheet which resulted in problems. It demonstrated very difficult to work with as the chalk did not adhere well.

Portrait of Mother - Pencil & Charcoal: with this part I drew my mother from life at a account view. This is the very first time I had drew someone at this angle, so I was interested to see how it would equate to my earlier portraits. I used pencils grading from 2B up to 6B. I also used a plastic for the strong shows that appeared on her behalf hair.

I found it challenging doing a profile view. I found that I had to be much more alert to the measurements from the ear canal to the eye and from the attention to the bridge of the nasal. This was quite a challenge but I feel I used to be quite successful in getting the measurements quite accurate. I achieved a likeness in the pulling to my mother's face so this I thought was an accomplishment.

I then moved on to a bigger piece applying this drawing as helpful information. On A2 gray card, I created a charcoal copy of the drawing. First however, because of your school's insufficient resources, I got restricted to using a sheet of credit card, which was of low quality. It possessed a shiny consistency that did no buy into the charcoal. To resolve this problem I mixed greyish paint with sand. This changed the colour of the sheet but also made it rougher to allow the charcoal to stick.

My measurements were a little off this time leading to a failure in getting a likeness to the model. I used the dark of the charcoal for the dark shadings, the grey pain acted as a medium and I used white chalk for the highlights.

From this I learned that it's possible to produce better textures by using substances such as fine sand mixed with color. I also found that I have to be even stricter with my measurements as the charcoal piece was less appropriate in comparison to the pencil drawing.

Portrait of Tom:

I drew a classmate from life using charcoal. When attracting this I wanted to explore different results from light. I did so it in a dark room with one office light fixture. I feel I had been quite successful in getting a likeness. My percentage has become more accurate.

I then colored a final part from this charcoal drawing. This I came across an issue as it's the largest portrait I have done yet. My goal was to get a Lucian Freud appear and feel to it. I coated on the background first when i had learned from days gone by that it was easier to work in this development.

I painted heavy brush strokes to produce texture. I used shades of cream and green for your skin colour. Then for the features I mixed fine sand with paint to provide more feel to my car paint to imitate the feel of Freud's cremnitz. I appreciated dealing with this as it created an unusual and interesting surface. It proved to be effective in contrasting the features with shadows.

The size was important as I wanted to experience with working on something large range also I thought it could have a more substantial impact.

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