My 2D Design class comes to an end and the final project is a poster designed as a tribute to an artist. As I mentioned in an earlier post, Wayne Thiebaud (b. 1920) is an artist I admire and want to study. So I took the opportunity to revisit some of his art:
All the images are paintings or sketches by Mr. Thiebaud. You can find his self-portrait, his portrayal of his wife, his best-known subjects, pies and cakes, and his typical landscapes – San Francisco streetscapes, Sacramento River Delta and mountains and many more. I also included one of my favorite quote from him.
I like Mr. Thiebaud’s vibrant but often economic use of color, his bold and whimsical composition, and above all, his ability to turn mundane subjects into humor and drama. There’s also a healthy positivity in his art, that always cheers me up.
Mr. Thiebaud just celebrated his 100th birthday this past November.The Crocker Art Museum in Sacramento curated an exhibition commemorated the event and Smithsonian has an interesting article about it. Obviously Mr. Thiebaud is still painting everyday, playing tennis and driving!
Would art do that to me? 🙂 Best wishes Mr. Thiebaud!
I first came to know this panel St. Francis Renounces All Worldly Goods, attributed to Giotto (1267 -1337), in Glenn Vilppu’s composition class at New Masters Academy. (He has a composition class on his own website and it’s very pricey. I don’t think they are the same thing. The NMA one is more like a masterpiece composition appreciation class.)
Honestly speaking, I knew little about Middle Ages art. It’s the section in a museum I often skip, assuming those paintings are mostly more about religion than art. I was surprised to see Mr. Vilppu going back that far to talk about composition. If I remembered it right, he sees many religious paintings as comic strips and superhero stories of the time. I guess that makes them the predecessor of the modern narrative art!
This panel is from a series of St. Francis stories. The figures are quite realistic, with vivid expressions and movement. The stage setting is deliberate. The artist used a series of verticals and horizontals to group the subjects and surroundings, and then use diagonals from clothing, figure and architectures to guide the eye. All this builds up to see the otherwise obscure hand in the air. There’s drama and clarity in the narrative.
What strikes me most, is the way the artist divided the panel. It’s cut in half horizontally in the middle, and vertically, there’s an obvious space to part the surface in two, also in the middle. If this is from a modern artist, I’d call it bold, but I don’t know Giotto or Late Middle Ages art enough to call it anything. While I watched Glenn’s lesson, I doodled some composition lines of the piece trying to make sense of them. Later, I developed a few pieces from that design:
I show the pieces in the sequence of when they were designed, but I actually finished the painting of the third one first, and showed it in a previous post.
You can see how I took more and more liberty with the composition, or I should say, the design finds its own life.
I use Giotto Studies as the title for now for lack of a better one. These are not real studies though. I merely scratched the surface and stole a few lines.
I want to say this is like a one stone two birds thing. I read a masterpiece closely, and got inspiration for something new.
I know what I could do next time I am running out of ideas to paint! 🙂