Study of alberto Giacometti

Study of alberto GiacomettiWhen works on building blocks 1 and 2 I was wasted to the human body and this was sh accept in my work. The human body has perpetually been an interest so this is wherefore I decided to poll delineations for Unit 3. There were several intimacys about portraits that interested me. First of all the radical of draft/ movie a portrait of someone and getting it to correspond that person was an exciting idea for me. At a younger maturate I was interested in getting a desireness of the models I would draw. I precious to gird that king. In the past when I had drawn from animation I had only utilisationd pencil. By choosing this as my group I knew this would sanctify me the chance to draw portraits using other media.The root cheatist who helped me start this project was Pablo Picasso. I spent much cartridge holder studying Picasso by look at his opposite periods. I started with his Afri apprize animate work. still it wasnt until I analyse h is Rose and Blue diaphragm that I really became interested in portraits. It was this era of his work that inspired me to study portraits. His works in the Blue Period secured my imagination. I intent they are powerful in capturing mood and emotion through Picassos affair of colour, realism etc. This was some topic that pushed me in the direction of portraiture. I cherished to capture mood and emotion in my portraits. He was the inspiration that conduct me to study other artists including Giacometti and Lucian Freud. I canvass artists which had relevance to my work and to the themes I wanted to seek.Alberto GiacomettiThe first artist which I studied was Giacometti.The son of a keystoneer, Alberto Giacometti was natural in Stampa on October 10th 1901. He began to draw and model at an earlier age and in 1919 he enrolled at the cole diethylstilbesterol Arts-et-Mtiers in Geneva. He travelled in Italy in 1920-1921. He studied with the sculptor mile Antoine Bourdelle at the Acadm ie de la Grande Chaumire in genus Paris from 1922-1925. After sharing a studio in Paris with his companion Diego from 1925-1927, Giacometti set up his avow. He would lots handling his brother Diego as a model.I studied his portrait of Jean Genet. Giacomettis proficiency with describe drawing and gesture was something I wanted to explore through my own work.Another pic which reminded me of his style was a portrait of Giacometti.I chose this portrait beca wasting disease of the artists style in gesture drawing. I was interested by his ability to capture his models materialisations through line and gesture drawing. I utilise this technique in my initial sketches in order to timbre my vogue well-nigh the subject. Something that I form very(prenominal) interest was choice in colour. The work he uses in this particular portrait are all very warm (consisting of various shades of browns). They give a feeling of cacoethes and comfort yet the expression on the models face appea rs quite blue and cold. I found this to be somewhat of a paradox. This use of communicative colour I found very exciting and was a model that led to to a owing(p)er extent research for my project.I decided to paint a egotism portrait keeping these paints in mind. It led to the creation of a self portrait in this style using comparable influence too. One technique the artist has utilize that I tried to furnish in my work was the layering of paint thickly. I matte this added volume and news report to the portrait. Giacometti uses steadfast and thick layers of paint in order to emphasise the product line between light and dark. He paints a dark view on light background. I found the grain of the swing out strokes very interesting but withal hard to hit in my own work.Giacometti unremarkably concentrate on sculptures of the human body and for one of many portraits he created, this one shows how skilful he was at creating figures.I think the main(prenominal) aspect, of his mental pictures I accommodate studied, that captures my interest is his style of painting. He uses free clangour strokes and brush strokes which are applied like the crosshatching pencil strokes in a drawing. The shapes he creates with these brush strokes I think are most effective. I film tried to use mark making in my own work in this way.Francis BaconHaving completed my self portrait I began to feel that it would be a good idea to try and capture expression in my work. I was interested in Francis Bacons expressions that he created in his models faces. oftentimes distorting the faces, Bacons portraits and self portraits push the boundaries in portrait painting. The mood in his paintings is often sombre. Bacon uses dark influence such as dark green, blue and atomic reactor(p). much than of his work conveys feelings of suffering and despair. His work is similar to that of cubist style painting and reminds me of Picassos work, such as the Demoiselles dAvignon, in par ticular the facial expressions of the figures.I studied The Screaming Pope. Bacon completed this painting after world inspired by Velazquezs portrait of Pope Innocent X in 1953.Bacon creates a confined and nightmarish scene. The figure of the pope is ghost-like. He looks dead or like he is dying. There is a haunted feel about the painting. The wow face of the pope and the strokes down the painting adds to the horror of the image. One can almost hear his cries. I am not sure why Bacon decided to create such a horrific image of a religious figure who is seen by many as someone sanctum sanctorum and graceful. Bacon may be expressing his feeling toward religion or to the concept of the pope. The item that Bacon was a catholic who later came out as homosexual, perhaps he was suffering from quiet retribution. He may also call for been challenging the status of the pope, shocking the public.Bacon had asthma as well as allergies to horses and dogs. During his attacks, he was given mor phine, a strong drug, which may explain some of the yeasty expression in his work which have the quality of drug hallucinations.I am interested in this portrait the colors convey a sense of horror. The use of purple and gold compliment each other very well but also signify riches and royalty. The black shadows in the background may represent growing shadows around the figure. The use of these colours and the dark aggressive feeling Bacon creates are very effective. When looking at the painting one can almost feel shivers down ones spine. The fact that you can see through the figures robes and that no legs are macroscopical adds to the horror of this painting.After studying this painting I snarl compelled to create a frame aiming to capture emotion in a similar way. I wanted to capture the expression in my portrait as Bacon did. I did another self portrait up to now this one differed from the first. I used different shades of blue acrylic paint. I did not however paint the whole face. Focusing from the nose down to the have a go at it I painted a piece in which my mouth was con statusrable open. I did this to try and capture a similar atmosphere which Bacon captured in The Screaming Pope. By focussing on the shapes created by the lips and cheeks, I was rejoicing with the result. However I think that perhaps the metric grain of the hardboard breaks up the brush strokes and makes the brush marks vexed to see.Lucian FreudWhen it came to studying Lucian Freud I was astonied by the way he creates pare down texture. One of his finest pieces of work was his self portrait entitled Reflection. Portraits and nudes are Freuds specialties and with this piece it is clear to see why. The thing I found most fascinating about this piece of art is the texture of the flesh. Freud seems to capture the raw and ugly nature of the human flesh. In this self portrait Freud has flourishingly captured every wrinkle and crevice on the face. He uses strong contrast in shadow and highlights and this is something I took into condition with future paintings. His brushstrokes are carefully applied to create an accurate portrait, whereas Giacomettis portraits and figure drawings have a more abstract quality. Lucian Freuds portraits are so practical(prenominal) that they become almost surreal. Freud captures every shadow and highlight in a meticulous manner and I was interested in achieving something similar in my own work.There is a strong significance about the colours and paint he usesI want paint to work as flesh my portraits to be of people, not like them. Not having the look of the sitter, being them as far as I am concerned the paint is the person. I want it to work for me just as flesh does. www.about.com/paintingFreud uses a granular pigment called cremnitz white-hot to achieve his unique painting of the flesh. I mixed linchpin with paint to give more texture to my paint to imitate the texture. I thoroughly enjoyed working with it. I entangle i t added character to the portrait and made the texture of the skin far more interesting.I found the texture of the bull quite intriguing. I desire the rough and coarse look Freud creates and it was an option to try and achieve a similar look when painting my models hair. However the hair was probably the thing I had most trouble with. I struggled with texture and colour. Perhaps I should have spent more time studying how artists paint hair put it into practice before applying it to a bulky portrait.The expression in Freuds self portrait is interesting in relation to what it is I am trying to achieve in my work. I have looked closely at the forehead the lines created from the artists frown. This was something else that I wanted to achieve in my own work. net PiecesSelf Portrait This portrait was inspired by the portrait of Giacometti which I studied. Using similar colours I attempted to get that simile to his work. For a first attempt I do not study I achieved this. I did howeve r succeed in getting a self portrait to actually look like me. This was a great boost of confidence for a first self portrait. From this piece I knowing that I should create the background and plan it at the early stages of the portrait. I acquire that the background is just as important as the face when creating mood or atmosphere.Oil Pastels on Brown subject This was the first time I used oil pastels for a large piece. My aim was to try and set a mood of strong emotion, so I went for feelings of anger and rage. This idea was inspired from paintings from artists such as Picasso and Bacon who use colour to manipulate the mood of their work.I used a strong red to achieve this, combined with black for shadows, orange for mediums and yellow and white for highlights. I move from life. While looking in a reverberate I tried to draw myself with an expression of anger. From this piece I well-educated how effective colour is in a portrait. For example I could have used a different col our other than red and a different feeling of emotion may have been evoked.Open address Acrylic on hardboard The aim with this piece was to capture emotion, a feeling of pain, fear or shock. I thought the use of different shades of blue would emphasise these feelings. This was influenced by works from Francis Bacon. The emotion in some of his paintings such as The Screaming Pope appealed to me and I wanted to portray that emotion through my work. However, I decided to take a different approach. Rather than painting my whole face I focused only on the bottom half, from the end of the nose down to the chin. My conception was to capture the emotion from just the open mouth, as I felt up that is where most of the strong feelings of emotion exist in Bacons The Screaming Pope. eyeball can often show a persons true feelings, so I wanted achieve this without painting the eyes.The recycling of the hardboard was chosen to give myself experience working with other material. I used the rou gh side of the board to add texture and to give the piece some more character.In all I felt I had successfully created feelings such as pain and fear through not just my use of a cold colour like blue, but by think on the wide open mouth.Portrait of Brother On A3 paper, I drew a portrait of my brother in pencil, from life. Before this I had practiced drawing portraits in pencil from photographs. This was to prepare me for drawing from life. I wanted to get an idea of shading, proportion, texture, etc. It was a challenge drawing from life as I was quite comfortable with drawing from photographs, however I needed to take that step in order to develop my skills in drawing portraits. Looking at the portrait now I see it lacks in volume. An obvious problem was that I only had a 4B and 6B pencil, so I learned the importance of having different grades of pencils.The portrait take more time in capturing the highlights and shadows. I also had a small problem with measurements, as the eye s were a little out of proportion.I learned to spend more time in studying shading and to be stricter with my measurements.After drawing this portrait I then photocopied it. functional with the photocopies I tried to capture mood atmosphere by adding colour. I used blue oil pastels in the picture which ultimately led to a colder mood. I also tried to get a different effect. After colouring the picture I scrunched up the paper into a ball and dampened it with water. This then led to cracks on the page which I felt added to the mood, perhaps suggesting a mood of feeling cold and broken, etc.I then used a photocopy to draw it in a larger scale and with different material. Drawing on a rag week of 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 learned that there is a right way and a wrong way to use brown paper. I used the smoother side of the sheet which led to problems. It proved very difficu lt to work with as the chalk did not stick well.Portrait of pay back Pencil Charcoal with this piece I drew my mother from life at a profile view. This was the first time I had drew someone at this angle, so I was interested to see how it would examine with my previous portraits. I used pencils grading from 2B up to 6B. I also used a rubber for the strong highlights that appeared on her hair.I found it challenging doing a profile view. I found that I had to be much more aware of the measurements from the ear to the eye and from the eye to the duad of the nose. This was quite a challenge but I feel I was quite successful in getting the measurements quite accurate. I achieved a likeness in the drawing to my mothers face so this I felt was an achievement.I then moved on to a bigger piece using this drawing as a guide. On A2 gray card, I created a charcoal copy of the drawing. First however, because of our schools lack of resources, I was qualified to using a sheet of card, which wa s of poor quality. It had a shiny texture that did no agree with the charcoal. To solve this problem I mixed grey paint with sand. This changed the colour of the sheet but also made it rougher to set aside 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 black 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 is possible to create better textures with the use of substances such as sand mixed with paint. I also learned that I have to be even stricter with my measurements as the charcoal piece was less accurate in comparison to the pencil drawing.Portrait of TomI drew a classmate from life using charcoal. When drawing this I wanted to explore different effects from light. I did it in a dark fashion with one office lamp. I feel I was quite successful in getting a likeness. My proportion has become more accurate .I then painted a final piece from this charcoal drawing. This I found a challenge as it is the largest portrait I have done yet. My aim was to get a Lucian Freud look and feel to it. I painted on the background first as I had learned from the past that it was easier to work in this progression.I painted thick brush strokes to create texture. I used shades of cream and pink for the skin colour. Then for the highlights I mixed sand with paint to give more texture to my paint to imitate the texture of Freuds cremnitz. I enjoyed working with this as it created an unusual and interesting texture. It proved to be effective in secern the highlights with shadows.The size was important as I wanted to experience with working on something large scale also I felt it would have a larger impact.