Curved and circular shapes I like the simplicity ‘Double Sphere’ Brainstorming Wave-like form/round shape Ideas for Sculpture I sketched ideas to develop textures of motifs and forms for a future ceramic sculpture. I have been inspired by curved shapes and forms from metal balconies around the metro in Paris.
I like this unique decorative style Barbara Hepworth, ‘Curved form’, 1956, 3D ‘enclosed form’ Impregnated plaster, painted on an aluminium armature. 52 by 80 Inspired from this structure, theculturetrip.com. by 48 cm. Tate.org. I like this very abstract form with three closing sides.
A vase shape with patterns. Two slanted objects balancing off of each I was highly influenced by Barbara other. Too complex. Hepworth’s ceramic sculptures as she similarly combines curved and Triangular/Diamond structures wave-like forms in her pieces. A difference for my intentions will be to engrave patterns into the ceramic.
Abstract looking Barbara Hepworth, figure with many ‘Pelagos’, 1964, Elm forms (infinity). A and strings on oak Looks like an eye, I like the idea. possible idea for base 430 by 460 by texture engraving. 385 mm, tate.org. I don’t like this configuration. It’s not appealing to the eye. ‘Double Sphere’ Developing Ideas I don’t like this. It has become too simple. Needs to be more complicated to achieve the I started the development of compositions for a sculpture complexity of shapes when engraving them constructed from a sphere shape. I am considering creating into the ceramic. several spheres intertwined within each other. I continued sketching abstract shapes within the sculpture like previously. One sculpture in three shapes. I like the unison. Leger influences with Better idea. More circles and repetition thoughtful. of shapes. Testing clay with half a sphere.
Jean Arp’s interesting curved shapes on the canvas gave me the interest to Too similar to previous structure. work in this shape and motif manner. Can this be developed? I will need to start experimenting with different techniques in order to Abstract form and shapes. I Fernand Leger, “The Disk”, 1918, Oil on achieve the desired look for textural like the idea of the patterns Canvas, 65 by 54 cm, tate.org. effect. inside. Same idea from above but looking from 3D perspective I like the randomness of the shapes.
Circle pattern from the end Jean Arp, ‘Constellation selon les lois of a tool created. Also, Three separate spheres wouldn’t be du hasard’, 1933, painted wood, 772 streaks for a textural effect. possible with available techniques. by 910 by 100 mm, tate.org An investigation of Circular and Geometric Forms in Leger’s Paintings Function and Purpose - “The Disk” www.museothyssen.org/en/collection/artists/leger-fernand/disc. This work was completed one month before the Armistice, which could refer to a war theme, Introduction https://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?work=130 due to the chaos of two dimensional forms. The composition and layout of the shapes can be I have decided to investigate the use of circular and geometric motifs in Fernand seen as unstructured and intentionally unplanned. It reflects that the war was chaotic, tense Leger’s work “The Disk”, because my work is closely similar to how different shapes and everything was a blur: shapes are not specifically positioned for a particular reason. There and textures are used. is a reference to the colours of the flags, however it wasn’t intended to represent anything specific. Even though there are many round shapes, the construction aspect is significant as Context and cultural significance - Leger (18851-1955) well. This can be seen through angular triangles and construction lines that stand out. Perhaps Artistic Movements and Influences www.britannica.com/biography/Fernand-Leger. Leger wanted to show a balance in his use of shapes through a variety of soft (circles) and hard Leger was a French painter who was influenced by industrial technology and (triangles) shapes and tones. Contrasting light and dark shades. Bold Cubism. His style varied between figuration and abstraction. In 1900, he worked thick curved black and white semi-circles. in Paris as an architect, then a photographer. In 1903 he took part in the Paris School of Decorative Arts. He developed machine art, a style of monumental Vibrant tertiary colors My own work mechanistic forms with bold colors. He embraced the Cubist aspect of fracturing and textures from this palette. objects into geometric shapes, but kept an interest in portraying the illusion of Similar three-dimensionality. black and white color Other work by Leger Finding his Style contrasts “The Disk” was influenced by Leger’s interest between in the chaos of urban spaces. His interest in Leger and I primary colors created a sense of movement in his paintings that captured the optimism of White: first feature to the pre-World War I period. Leger was stand out to eye recruited during the First World War, which made him avoid abstraction and return to real objects. He began a series focused on Bright orange, red, purple representing the form of the disc. colors are harmonious Incorporation into his compositions of this together expressing a abstract motif, which he was familiar with warm mood. before the war, could be due to his collaboration with Kahnweiler in the publication of “J’ai Tué” by the Delaunays’ Fernand Leger, “The Disk”, 1918, Oil on Leger’s piece influences my piece in Swiss writer friend Blaise Cendrars. Leger did Canvas, 65 by 54 cm, tate.org. circular form through this feature and Fernand Leger, “Propellers”, the illustrations. Leger was influenced by Attractive light and textures. I engraved textures with a pale tones 1918, Oil on Canvas, 80. by Cezanne’s work at the Paris Salon D’Automne knife. Leger similarly drew black lines 65 cm, tate.org. of 1907. Small details of stripes, horizontal and diagonal lines to create a construction aspect. inspires technology and construction to create a building. www.theartstory.org/artist/leger-fernand/ https://www.tate.org.uk/whats-on/tate-britain/exhibition/fernand-leger ‘Double Sphere’ Refining the Sculpture
As I’m refining the sculpture in the making, I start to use a knife and wooden sticks to create bumps and lines on the piece. I used knives to create zig zag straight line motions. I continue to develop ideas and engrave different motifs previously brainstormed.
A ‘w’ shape. I I did not use this solid textured prefer this ‘wavy’ pattern so I decided to cut the shape aspect. It portrays out instead. abstract shapes.
I was influenced by Frank Stella I like this rectangular shape and sharp edges. As well as the big, from his piece ‘Egyplosis medium and small shapes. Relief’. I found his collage techniques with engraving textures like continuing lines and zig zags very appealing to I decided to go with this shape the eye. I want to achieve a and carve it out. similar goal. Original ideas that gave me inspiration for this project.
I like how it looks very visually interesting; something different.
Add scratch This is the final idea surfaces come to life. I like the with 3D aspect; shows lots knife for Nina Kemchyan, Egyplosis relief, Frank Stella, 1996, of the textures. more ‘Constellation Sphere’, Prints, relief, aquatint, magnesium Finished piece with two spheres side by side, with texture. 1990, Ceramics, tate.org. plates, 80 by 80 by 4 cm, tate.org. color oxides. Color influence from Stella. ‘Ancient Paris’ Development
I intend to discover Parisian architecture through the repetition of shapes and patterns for an acrylic painting. I explored different compositions from original photos taken around Paris. I developed green, blue and grey color schemes to find the balance of tones in these colors.
Color seems too dark.
I needed to choose which colors would fit Rectangle composition shows more best for the leaves. background and lamp repetition. Experimental painting image for reference Leger influence for wire structure.
Need to explore more dark tones of blue if I advance with idea. ------I prefer this round one, Another possibility is to look at wire structures from the as the theme fits with Curved metal metro; more intriguing patterns. the wire structure.
Final finished piece Square composition does not allow lots of room for wire. Testing colors for painting ‘Stare’ Brainstorming Ideas
I started brainstorming ideas in distorted and shattered objects through the figure - a first influence from Cubism. Pablo Picasso was an inspiration for this as the way he collages different subjects together is something I This has a cubist style want to achieve. to it. I was inspired by the human face Pablo Picasso, ‘Weeping Inspiring image for theme. Source: above, with Woman’, 1937, Oil paint on creative.com everything being canvas, 608 x 500 mm, Tate.org broken into parts.
A shattered face that is broken into different I thought of the eye being pressured by sections will demonstrate something, feeling trapped. the pressure I want to show. Source: This represents hiding parts of the body, wallpaper.com with the feeling of everything being erased.
Showing that the face isn’t always as perfect as it seems.
Source: creativemarket.com
Idea that beauty is not all about perfection. Showing different faces Shock of disappearing effect; interesting in a mirror. ‘Stare’ Pressure on Women Idea 1
I started to sketch composition ideas. The distortion of faces relates to ideas of women feeling need to be pretty and perfect causing pressure. Many women feel undervalued unless they meet society’s expectations of beauty. I want to create a piece where the audience can view my artwork from different perspectives, incorporating the abstraction possibly from the idea of an eye, with shattered mirror. This is my prefered idea showing broken glass for pressure. Artist: Mel Bochner, ‘If the color Note: Not my photo. changes’, 1999, letters on foam board. SOURCE: Hauderkanst.de
Idea 2 https://artpla.co/troisieme/you-are-not-yourself/ Could one of these be the reflection and the centre of the eye?
For glass idea Idea 3
I like the individual ‘tondo’ format but not for a Artist: Marta Knlowska, made of glass, 1980, 360 by 275 cm. I like the concept of final piece. this idea, but too similar from idea 1. ‘Stare’ Developing Letters
I started to develop words relating to pressure and beauty standards. My goal is to have the words under layers of paint, so that it is not the basis of the piece but also big enough so the audience can see the words from a distance. I explore stenciling, paint and This will not work on the painting as a blue word and a blue background will plaster. not be seen. Inspired by this font. I like how it has a movement effect of it disappearing.
This color may contrast better with the blue background on piece. I like the different tones of blue. The concern is that it won’t be seen on the I prefer this painting full of blues. aspect of broken parts of the letter. Could I try to use I like this type of plaster and paint to stenciling as it’s create a 3D effect? Ben Vautier, simple. ‘Prenez vos Desirs pour des Realites’, art.org. The color is too light, and hard to see from a distance. I will make a darker green. Jasper Johns, Since one of my I wanted to incorporate an ‘Alphabet’, requirements was to aspect of geometric letters 1959, Paper on have written words as a floating portraying Hardboard, 30 main feature, I looked at movement. In the end I cm x 27 cm, different stenciling didn’t do this due to time (The Art techniques. constraints. Institute of Chicago) NOTE: The eye pictures are not mine. ‘Stare’ Eye Color Testing This eye has very dark I decided to create a circular wood piece with blue around the edges. I blue and green acrylic paint. My goal is to can see that from my incorporate textural effect using dashed black ‘tondo’ piece. I added lines and wire becoming visible to the more green to mine for audience from afar. more color.
I took inspiration from this eye. I didn’t quite achieve the light sea blue. Pictures from healthline.com
I will need to add Eye color testing. Colors are appropriate extensions of to make up eye ball. black lines coming from the smaller black circle, so that it I don’t like these colors looks connected. side by side. They are too dark. I will add white paint to brighten the I like this turquoise green color. Gives a nice blended effect appearance. This is from my print. For texture of the eye, I decided to paint black lines on top.
I used more blue rather than turquoise/green to give Final result involves black lines and straight a lighter color eyeball. wire for added texture An investigation of circular motifs in Sonia Delaunay’s work Introduction I have decided to investigate the use of circular motifs in Sonia Delaunay’s work Electric Prisms, as it portrays the repetition of circular patterns in a colorful manner. This artwork links to my work as I explore how shapes and textures are used, connecting to my theme of identity and distortion.
Context www.theartstory.org/movement/orphism/. Born in Ukraine, Sonia Delaunay was a French abstract artist and a key figure in the “Electric Prisms”, 1914, Sonia “Abstract Swirl”, 1970, My own work “Stare”, Parisian avant-garde, known for her use of colorful geometric patterns. Her works Delaunay, Oil on canvas, 250 by Sonia Delaunay, 2020, acrylic, 44 by 55 cm. explored the relationship between colors creating a feeling of depth and movement. Even 250 cm, tate.org. Lithography, paper, 50 by though her early work consisted of paintings, she took interest in textiles evoking cubist 65 cm, tate.org. creations, when she had the idea of making a blanket for her son. Analysis of Function and Purpose Electric Prisms demonstrates the way that life influenced Delaunay's art. The subject matter was Delaunay was influenced by the similar fabric she had seen in the houses of peasants in observed directly as she and her husband discovered electric lamp lights as they were walking Russia. Delaunay moved to Paris to study at the Academie de la Palette. Having met her down the boulevard Saint-Michel in Paris, helping her create this work. We can see how Sonia first husband Wilhem Ulde, an art dealer, he gave Delaunay her first exhibition in 1908 tried to reproduce the way these artificial lights show colors on the sidewalk with semi-circular highlighting portrait studies that showed the early influence of Fauvists like Henri colored lines. The representation of pattern gives off an abstract feel, not entirely representing Matisse. This introduced her to important art figures like her future husband Robert reality, trying to communicate and achieve its use of shapes and colors. The work captures a Delaunay. feeling of relaxation and calm due to the subtle “movement” and flow of the curved arcs. Delaunay is trying to convey a story illustrated from the lamp lights seen in Paris, showing how During her first years in Paris, she was strongly influenced by the bright colors of Fauvism. these objects were derived from something realistic, and now as a result they are spontaneous. Delaunay’s textile designs helped her discover her interest into fashion and home decor. www.tate.org.uk/art/art-terms/o/orphism By introducing art into daily life by creating and wearing clothing, and in living spaces designed by herself, she was seen as developing an early form of performance art. She Symbolism inspired many artists like Marina Abramovic, a contemporary artist. Motifs of circular patterns. Delaunay shows her use of this motif throughout many of her artworks. Cultural Significance and Art movement - Orphism They are abstract showing symbolic meaning of In 1912, Sonia and her husband Robert Delaunay created an abstract cubist perhaps architectural objects she sees in her life influenced painting style called Orphism. It is known for its use of strong colors (lamp posts). She paints them imagining what they and geometric shapes. Poet Guillaume Appollinaire, invented the name which could turn into. was based in Cubism, adding a new importance on color, influenced by the Neo-Impressionists and the Symbolists. Orphism brought together theories of philosophy and color to create work that “immersed the viewer in dynamic expanses of rhythmic form and chromatic scales”. (Thearthistory) www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibitio www.theguardian.com/artanddesign/2015/apr/13/sonia-delaunay-tate-modern-london-review Exposed in the Centre Pompidou, Paris n-sonia-delaunay/delaunay-introduction. https://www.theartstory.org/artist/delaunay-sonia/artworks/ Continuation of Investigation Consecutive Colors Form and Composition semi-circles ● Square format with circular compositions; arrangement is fragmented and irregular. ● Primary and secondary colors placed next to ● Pattern of many curved circles overlapping each other. each other, creating light effects and an intense ● Shapes: geometric: arcs, rectangles, and oval-like shapes. optical vibration. ● Two main circles like prism colored discs are the focal point. Attracts viewer with the continuous circles going into perspective. ● Primary colors: red, yellow, blue. ● Eye is directed in a structured order. First to the large circles, then to the unusual square and geometric shapes. ● Secondary colors: orange, violet, green. ● Sense of movement in the circles, creating its own energy and motion. Strong bold semi circles creating tension. ● Juxtaposition of complementary colors: red and ● Vibrant and illuminating piece. green, blue and orange. A broad use of color Axis of symmetry, a ● Fragmented landscape expressed with color. Dark areas palette; a variety. Gives a saturated and pure center of balance. ● Repetition of forms extending beyond frame. casting mood. shadows. ● The color blue may be the most vibrant and dominant color and have the most significance Tone/Light than other colors. Uses a variety of dark and light ● Broad range of darks, highlights, shades for the viewer to see the contrast first. and mid tones dispersed all over work. This portrays different ● Bold, opaque colors. moods across the piece from dull ● Warm colors (red, yellow, orange) giving a sense of excitement. to vivid. ● Cool colors (green and blue) giving a sense of calm. ● Shadows can be seen from the ● Abrupt color change with the black in bottom right corner. Very dark blues, creating the illusion of unexpected. depth and space. ● Color choices create a repetition and motif of pattern, by creating ● The lower circle positioned balance and variety within the work. towards the right of the work could be disappearing into the My own piece distance. Perhaps tone is used to help communicate atmospheric Delaunay’s work involves perspective. circular motifs, similar to ● Lights mostly on right side, darks Unusual squares/geometric the overall composition of on left side, while creating a shapes my work. Similar paint subtle contrast hard to notice. Materials techniques working with gesso. ● Gouache on cardboard. ● Painting could have been built in layers: Gesso ground, textured mediums, underdrawing, Similarity in overall tondo blocking in colors, defining form, final details. format and appealing to eye. ● Perhaps a contemporary method of using paint. ‘Pieces’ Initial Ideas + Piece I start to see Development influences from I created a tonal drawing of a lipstick Kurt Schwitters thinking about makeup and using it to who looks at judge people; social pressure. I looked Tonal drawing to cubism in collage at the different areas of light and dark start ideas. For a collage, I could include dark areas and found objects. tones, which then developed into a from paint or newspaper; same with white collage piece made from found I like the variety on the upper part of the areas. materials (newspaper, acrylic, card). I lipstick. The form would be I was thinking of using string as was influenced by Kurt Schwitters. unusual/abstract in a collage piece. a found object. Due to material and working constraints, this was not possible.
I like the variety on the upper part of the lipstick. The form would be unusual/abstract in a collage piece. I don’t like the brown paper. It’s too dark and dull along with the lighter colors. Added more blue in final piece.
This composition is the most unusual one. A large Final piece created rectangle showing a lot of detail. However, this may look with acrylic and like too much and hard to focus on just one thing. found materials.
Merzbild 1A, Kurt Schwitter, 1919, Oil on Canvas and Collage of objects, 48 x 38 cm, tate.org.
I like this square frame, the collage will make it look very abstract as there is not much shape. The materials will fit together. http://www.artnet.com/artists/kurt-schwitters/ Kurt Schwitters Artist Investigation https://monoskop.org/
He took part in the Cubism, Abstract and Fantastic art, Dada, and Surrealism Kurt Schwitters was a German artist who worked with many exhibitions in 1936 at the Museum of modern art in New York, where he styles such as Dadaism, Cubism, Constructivism, and different exhibited his work. In 1918, he became friends with Jean Arp and Raoul media and art forms such as painting, sculpture, installation art Haussman. After the war he moved to Berlin in 1918 and met with Hannah Höch, etc. Despite having worked with these styles, his work Raoul Hausmann, and Hans Arp. concentrated in a cubist-post impressionist style. Schwitters created his first collages in 1918, one of them being “Merz pictures”, which he is most known for. Schwitter’s incorporated found materials in his work, symbolising The Dada Movement: An art movement which began during the a marking event from history. He was interested in cubist/abstract First World War in Zurich, Germany. The founder of this movement collage. was writer Hugo Ball. It was created due to the negative responses of the fears and tragedy that the war brought. The artists part of this “Revolving”, 1917, Kurt movement, including Schwitters, wanted to ruin traditional Hans Arp collage. Similar Schwitters, Wood, Metal, Cord, principles in art and replace the old art by creating a new one. Dada to Schwitters: random Cardboard, Wool, Wire, Leather, eventually became an international movement and established the position of objects. Oil on canvas, 122 x 88 cm, beginning of Surrealism after the war in Paris. Since Schwitters made arthistory.com work during the World War, his works have connections with other artists like Hans Arp and was part of the Dada movement. The use of Analysis of Function and Purpose materials and collage is very significant. The word ‘und’ in the title of this piece translates to ‘and’ in English showing an unusual assortment of some text and found objects. The layout of this piece consists of letters, numbers, fragments of colored paper, with Pablo Picasso cubist different colors and textures. This work was created just collage. Similar styles to after the First World War had ended, and at this time Schwitters cubism collage was an interesting mixed media to use. The collages. penguin subject on the left hand top corner is the most prominent object in the piece served to illustrate fragmented materials of collage. This piece may address “Das Undbild,” Kurt Schwitters, 1919, collage, tate.org. “A glass and a bottle of Suze”, Picasso, hidden political issues and states that “content cannot be 1912, charcoal, collage, gouache, separated from the form or medium”. cardboard, 64 x 50 cm, wikiart.com https://www.dadart.com/dadaism/dada/038-Schwitters.html https://www.guggenheim.org/artwork/artist/kurt-schwitters http://drgeoffsnell.com/tag/das-undbild/ Continuation of Investigation Color ● Muted colors used: black, white, brown, blue. Form and Composition Shows the emptiness of boredom. ● Collages incorporating found objects: bus ● The white is an outstanding color; the other dark tickets, old wire and fragments of newspaper and brown colors are dull. ● Abstract portrait piece. ● Dominant white color was chosen to reflect the ● Focal point on left hand side with white color. artist’s personality. ● Rectangles, triangles, square paper formats. ● A feeling of brown and rusty colors, perhaps ● Black bold letters ‘und’ on brown cardboard in illustrating the damage and destruction of a quadratic shape. objects from War. ● Top right corner: no cardboard present leaving a hole to show darkness within piece. ● Randomly placed cut up cardboard pieces shown from top to down. Textures ● Leading lines in direction towards the left with ● Corroded, rough and shiny textures. triangles and quadrilaterals pointing towards. ● The piece reflects an old paper texture; scrunched ● An asymmetrical photograph with a penguin up paper. on left side and a random configuration of ● The brightest part of the piece is reflective, while cardboard shapes on the right. the paper is old. ● Blue triangle seems to be from silk; smooth texture. Light and Tone ● A random pattern is used which creates a unique piece. ● Light coming from the bottom left direction; My own piece: ‘Pieces’, Collage on brightest area in the piece. paper, 15x 15 cm ● Perhaps a reflection of a lamp below the penguin is seen to enhance the focal point. ● Mid-tones are located in the centre. ● Darkest areas are located at the top right hand Feelings and Mood of piece. ● Photograph shows the resemblance of what ● The light brings depth into piece changing the something would look like after a War and way the colors look. how the battlefield would look like after Similar use of ● The light showcases a joyful mood. destruction. Schwitter found objects ● An interesting feeling of the randomness of influences and materials to Materials the photograph. present in my Schwitters: ● Cardboard ● The random objects suggest a chaotic piece with use Newspaper, ● Old bus tickets and journals mood, leaving the reader intrigued. of collage. cardboard, metro ● Silk tickets. https://bonuspastorbuckle.weebly.com/kurt-schwitters-context--analysis.html Influential artist: Tjampitjinpa. Source: ‘Broken Color’ Developing Compositions aboriginal.com
Different techniques I was interested in looking at pattern in but pattern continues different ways through architecture and in a circle. nature. I decided to take photographs of what I see in an environment by observing shapes and the repetition they create. I liked how the photographs each have a form One square of repetition from their subject which tonal drawing intrigued me to further explore this aspect. showing shades. I like how the Rule of thirds: An unusual spiral Rule of thirds: Interesting consecutive pattern going into motif found from a tryglote. distance. Shows the unique repetition of the arches. pencil nicely blends into the Inspired by aboriginal culture with page. round coils. Pattern and texture: All the same throughout and has an interesting Repetition: In a consecutive line, and is natural. configuration.
Leading lines: Very large format. Clear focal point and the same repetition is appealing to eye. Trying to make this painting trial look like threads, but it’s not working. I showed perspective in this photograph to I like the mix of colors represent a 3D together, but I put too structure on a 2D face. much water in and the This creates an illusion texture effect disappears. of space and depth on a flat surface. ‘Broken Color’ Developing Idea Idea #2 Watercolor testing Acrylic testing
Idea #1 Using rule I went with the spiral of thirds photograph as I grew fond of and dividing the interesting and unusual into 9 shape, and how it represents squares. nature. I developed compositions for this piece. I prefer acrylic paint as color is brighter and it’s easier to blend colors. Too much detail. Could I try to take one square? Inspired by wire structure from a chair. I kept the curved shape.
Each square has a different color shade and are opposites within the Color doesn’t go well. Add more yellow to make squares. Idea needs to be developed I like this configuration of identical orange? as the patterns are too simple. Could images rotated. Shows abstraction. more be added? Georgia O’Keefe’s drawing has similar My interest in abstract shapes continue hoping to swirls as my chosen Possibility for a Idea #3 create a large painting. photograph. line drawing.
Georgia O’Keefe, ‘The Shell’, 1934, Charcoal on laid paper, 47 by 62 cm, Tate.org. ‘Broken Color’ Experimenting
I started experimenting with multiple paint techniques for the large canvas. I looked at impasto, blending, drybrush, I decided to do a and the broken color technique. I ended tonal drawing to look up not using as many paint techniques at the variation of Impasto Technique provides a textural as planned because they didn’t blend tone. Could I use part of this concept? effect of layers and relief. well with the spiral.
Using a knife to apply layers. It looks like relief, but doesn’t when touched. Use a palette knife instead?
The colors match the tones I’m looking for.
Broken color technique. I don’t like the effect as it doesn’t show much ‘brokenness’. I prefer when colors are blended together Inspired by Mark dry rather than using water for better Rothko,who used similar blending. This technique was successful in formal qualities in color, making a soft tone to the piece. process and technique with blending in subtle colors together.
Mark Rothko, ‘Yellow over purple’, 1956, oil on canvas, 176 Blending and dry brush technique. by 150 cm, artnet.com An investigation of the use of color in Rothko’s paintings. Movement www.nga.gov/features/mark-rothko.html. From his interest of color, he started to develop this Introduction www.moma.org/artists/5047. strategy of composition in 1947 by initiating the Color I am investigating Mark Rothko as he is an interesting abstract Field painting movement - a style using open space expressionist. We both share this idea of an abstract composition and expressive use of color (Artsy). His work simply through our paintings. He has influenced and impacted my work in focused on the use of color. From here, Rothko Looking at the formal qualities of color, from the use of different color contrasts and continued to explore layering of different colors in artist’s work tone, finding the balance between light and dark colors. various shapes like rectangles. Context Historical Socio-Cultural Influences Born in Russia, Mark Rothko immigrated to the United States as a child. He Content grew up having a rough childhood with the conflict of Jews in Russia, evoking ● Evoking spiritual harsh memories later impacting his life. Rothko’s intentions were to make contemplation, keeping the paintings that brought emotional feelings to his audience. “I’m interested viewers eye attached to the only in expressing basic human emotions—tragedy, ecstasy, doom, and so piece. on” (Moma Museum). For him, the emotional connection of his paintings ● Effect of standing in front of were more important than his interesting use of color. Rothko began his painting: very dominant and career painting landscapes, cities, people, the New York subway, and this powerful. truly impacted his later work. He joined an Abstract Expressionist group in Mark Rothko, Untitled, 1950, ● Meaning for work being the 1940s which included Gottlied, Jackson Pollock, Barnett Newman and Oil on Canvas, 190 by 101 cm. called ‘White Center’: there more. They would often identify their works as intense emotions in nature. Tate.org. is literally a white center in Rothko also created paintings derived from thoughts of religious beliefs and the middle of the canvas. ancient myths. ● Purpose: to merge different Artist Influences colors with the color field. Rothko was influenced by painter Arshile Gorky as well as other Abstract Expressionists. They were The artist’s work both interested in European Surrealism seen from www.markrothko.org/white-c unusual biomorphic shapes in their paintings in the ‘White Center’ was made in 1950, during the time before Rothko enter/. 1940s (Moma). This was highly interesting for became more interested by combining darker colors together. This work Mark Rothko, White Rothko as he discovered the ‘floating zones of color was made as Rothko had an interest to create large scale paintings on over colored grounds’ and became well known for vertical canvases, becoming his signature style. Rothko’s intention for his Center, 1950, Oil Paint, this (Moma). Rothko was also influenced by cubist style of color was to portray different ranges of tones and atmospheres, 206 by 141 cm. but also to engage his viewers feeling emotions provoked by the strong painter Max Weber from his first expressionist Tate.org. paintings on everyday subjects. use of color. He really wanted his viewers to appreciate his work in person. www.nga.gov/features/mark-rothko/mark-rothko-classic-paintings.html. Mark Rothko, 1976, Oil on canvas, 1000 by 7000 cm. Tate.org. Composition beckiidawcontextualstudies.wordpress.com/2013/11/22/mark-rothko-white-center-yellow-pink-and-lavender-on-rose-1950/.Tone/light Tone/Light Impacting on my own work ● Large scale canvas. ● Luminosity: repeated layering of thin washes of An aspect of Rothko’s style that I used ● Four floating, horizontal bands of paint, allowing underpainting to show. was trying to find the balance between ● Bright contrasting colors: yellow, purple and color. light and dark tones to create a vibrant white: a purple choice as an art print ● A yellow horizontal rectangle, a atmosphere appealing to the eye. black horizontal strip, a narrow reproduction. ● white rectangular thick strip, and Artist uses a variety of color schemes mixed into one painting creating a warm, bright and happy Like Rothko, I used similar formal qualities a dark purple/lavender very large feel to the viewer mixing the complimentary, in color, process and technique with strip. analogous with the primary and tertiary colors. blending in subtle colors together. ● Subtle edges disappearing in Primary and Tertiary colors background. Unlike Rothko, each shape had a mix of Colors colors blended together showing uniform. ● Purple/lavender strip: top half is darker than bottom half, more pale; adding more value. Development of ● Yellow: color of brightness and my work saturation. ● Top half of painting: analogous Complementary colors colors of yellow/orange and purple and orange. orange and orange/red mixed with a complimentary bottom with yellow and pink/purple. ● A thin black strip going across the middle, stands out to the Comparisons/connections between ‘White Center’ and eye. ‘Composition’. Personal Opinion Mark Rothko, White Center, 1950, Oil Paint, 206 by 141 cm. Tate.org. Mark Rothko shows similarities and differences between many of I am fascinated by the illuminating his works. bright colors, directly bringing my eye Process Similarities: to the bright yellow/orange color strip ● Painted on canvas. ● Canvases divided into different sections of color. and then to the purple/violet strip. I ● Looks like it was ● Contrasting colors: a mix of light and dark. liked how this work ‘White Center’ made with care ● Subtleness effect with color. showed a representation of and soft abstraction besides color. The meaning brushstrokes. Differences: behind it is not directly stated through ● Big strokes with Rothko is a big influence for ● Different layouts and compositions. the painting. brush, my painting. I learned how ● Made in different time periods, influences may have to paint different tones totallyhistory.com/white-center-yellow-pink-and-la brushstrokes to changed. that go well together. www.mark-rothko.org/white-center.jsp. vender-on-rose/. show subtleness. Mark Rothko, Composition, 1959,Oil on Canvas, 72 by 55 cm. Tate.org ‘Broken Color’ More Techniques Color testing
I developed more techniques to refine the spiral. Some areas of painting were quite challenging because I was still figuring out the type of tones I planned to use, which is why I had to do a lot of trial and error with colors. Mark Rothko, I had trouble finding the right ‘Composition, 1959, mix of colors to blend in I then decided to use oil on paper, 72 by together. I tried two different this ‘spotted’ technique. 55 cm, artsy.net Hard to apply texture, techniques. doesn’t give a relief. I took a picture with myself standing beside my When looking from large canvas to show the scale. afar, it blends in better. Not very eye Final piece created catching.
I started creating textural Dark colors highlighted to layering with a palette contrast with light areas. knife as previously suggested. Testing with my painting, the dark colors look ‘all over the place’ and are not appealing. Photographs taken by me ‘Abstraction’ Exploring Relief I can explore the distortion of pattern from this shape. Continuing with my interest in abstraction, I started to develop ideas from the existing spiral motif that could eventually turn into a relief piece. I would like this coil idea to eventually turn into more shapes layered on top of each other. Diamond carpet pattern? An idea onto a wood canvas? Thought: I could incorporate these shapes and textures.
Ben Nicholson is an influence here as I am inspired by the different layers assembled together. It could be interesting to work in a similar manner, using collage techniques on I like this possibility a large format. of tone and relief. Ben Nicholson, 1939, ‘Painted Relief’, Oil paint on Hardboard on plywood, 16.5 by 25.4cm, tate.org. Possible compositions for relief. Layers of wood could be an idea.
Made from card building layers together? I like the effect that the card has building layers on top of each other. The color makes it more vibrant. ‘Abstraction’ Developing Composition Work in progress
Exploring relief, my ideas here consider how I can layout I decided to take a my composition over layers of thin pieces of wood and previous drawing and shapes. I chose to work with the colors yellow and brown; use it for inspiration complementary colors. I found it hard to make dark browns of this large painting. as the lightest was already quite dark.
Ben Nicholson, ‘Pochoir’, 1953, I tried to decide if these colors Collage, 30 cm x 23 cm, tate.org would be a good fit. They don’t blend well together. I don’t like the blue and Like Nicholson, I decided to trial 2 brown. Doesn’t go well colors and stick with them. together.
The final complete piece
This composition could be These colors are light enough incorporated into the work as to contrast well together. I a small section. won’t go too dark. Ben Nicholson’s use of brown inspired me to incorporate this in my art practice.
I want to draw this shape in the centre of the canvas so it can be visually seen from the viewer. Tonal drawing from mirror. ‘Triple Frame’ Brainstorming Ideas Mirror inspired The aim is to show the lights Does not show the best and darks together. features of the object. I was inspired by a mirror, looking at several unique shapes it holds. I then created a chalk and charcoal tonal drawing which then helped me develop more sketches for a possible frame made out of wood.
Strange looking Don’t like object. I could the long I like this half enlarge this for rectangular piece of the more effect. shape. mirror.
Chalk + charcoal testing. Colors are too light Pablo Picasso, ‘Guitar’, How my piece can develop 1914, Ferrous sheet, metal, Inspired by Louise wire, 77 x 35 x 19 cm, Nevelson with curved moma.org shapes looking like wood structures. Reminds of a cubist bottle
Louise Nevelson, ‘Atmosphere and Environment’, 1970, Lor-Ten Steel on Granite Base, 45 x 25 x 12 cm, associationforpublicart.org. Maquette Ideas ‘Triple Frame’ Continuation with wood Will need rods to stick together for a 3D look.
My goals start to become more clear; creating a 3D piece where the viewer can walk around the piece and view it from different angles. I realize that some ideas may not be possible to produce in reality due to the nature of working with wood. I could add more wood on A triple structure. Hard top for a relief A trial with card and color. Drawing of to see all angles. effect or cut a mirror starts to whole and use disappear when Original idea is too wire. incorporating simple. Wood in this abstraction. structure is not feasible; will not bend.
Can this be used as a wire A structure of 5 shapes. Too Drawn from the mirror structure? much into distance. Most interesting. I can use wire. Out of wood, I want to create a 3D piece Create an outlined structure Nice idea of leaving middle so the viewer can observe my piece with an open space in the blank. Hard to see all angles in around the room. middle? this position.
Artist: Richard Deacon. Deacon is a British abstract sculptor who creates large scale three-dimensional artworks from stainless steel, wood, iron, glass and more. Deacon is known for Frank Stella, ‘Albatross 5 using ordinary materials while creating loop and snake-like Mitsoninian, 1977, Tyler structures. Deacon’s work connects to mine as we both create Graphics, 83 x 104 cm, layers of frames. I intend to create a piece made of three layers - Richard Deacon, ‘Alphabet’, Richard Deacon, ‘Tooth and moma.org similarly to Deacon they will reinforce my abstract motifs in space 2013, Powder coated Claw’, 1986, Galvanised steel, that shift depending on the audience’s viewpoint. stainless steel, 241 x 243 x 194 x 305 x 274 cm, https://ocula.com/artists/richard-deacon 10 cm, lissongallery.com https://www.lissongallery.com/artists/richard-deacon lissongallery.com ‘Triple Frame’ Layout of Piece Ideas I am unsure which layout to go with; I initially found it challenging to work with different wire it all depends on shapes for all three frames, because all ideas were too their positions. similar. I brainstormed complex ideas and then narrowed them down to having all three frames with the same composition.
Testing composition on paper. Red will not be the Richard Deacon, “Add final color choice. and Subtract”, tate.org Color scheme: light, medium, and dark green I could create The piece will feel too two solids for enclosed with this idea; each frame too many solid shapes. with acrylic paint. Working with solids. Testing different shades of green to represent nature; ideas from previous works. Dark green This was created from Make with paper maché showcases the solid structures tissue paper and glue. the best. Initially, the trouble was hiding the excess material. To overcome this I used water and acrylic light brown paint. I will work with these simple shapes instead