Amedeo Modigliani is an Italian artist famous for his uniquely stylized portraits. I always like his paintings and attempted a study years before. Somehow Modigliani’s Madame Amédée reminded me of my neighbor’s cat, and my original plan was to use the composition of the original painting, and replace the head with that of a cat’s. It didn’t work out and I switched back to the lady. The result wasn’t much of a copy, and you can still see the trace of my deviation.
This is another try. This time it was not a copy, but I tried to stylize a self-portrait. I meant to focus on the inner world of subject, but somehow it was all spilled over into the background. As a result I went way beyond his typical palette, which is quite muted.
After learning drawing and painting humans for a while, I find myself even more fascinated by Modigliani’s ability to go beyond realist forms while stay true to the spirit and character of his subjects. I probably will do more studies of Modigliani in future.
Japanese woodblock printing (ukiyo-e) has a profound influence in western art since 19th century. “Japonism” has a visible presence in the art of many big names, such as Van Gogh, Degas, Gauguin etc.
Tsukioka Yoshitoshi 月岡芳年 (1839 -1892; also named as Taiso Yoshitoshi 大蘇芳年) was generally regarded as the last great master of the this art tradition. He was a very bold, imaginative and prolific artist. Some of the images he created are regarded as gruesome and disturbing. His most famous series are One Hundred Aspects of the Moon (1885–1892), and New Forms of Thirty-Six Ghosts (1889–1892).
In “Kiyomori sees hundreds of skulls at Fukuhara,” from the series New Forms of Thirty-Six Ghosts, Yoshitoshi portrayed the famous Japanese general (or soldier-dictator) Taira Kiyomori (平清盛, 1118 – 1181), who created the the first samurai-dominated government. The main attraction for me is the decisive and effective line work, and the presence of the character:
A few notes:
This is not an exact copy, partially because the paper I used was a failed texture experiment. I have to work with un-intended marks here and there.
Copying line work is a tricky business: you want to be careful because the ink is permanent; but if you are too careful you’ll lose the force and the gesture of the line.
Sometimes having random textures or marks on paper is not necessarily a bad thing. You are forced to be creative since you have to work around or work against it.
By the way, the art of ukiyo-e fell out of fashion in Japan in the late 19th century but saw a come back since the 70s in Asia. Some young artists incorporated the line works and the fanciful contents into Chinese fine brush painting or watercolor painting.
I am quite into drawing and painting humans recently, both portrait and figure. I find it a great way to practice hand eye coordination, and overall drawing and painting skills. While human faces and bodies are complicated, they are more organized than landscape. Learn the anatomy and you’ll have a sure way to approach them. They are also less forgiving than many other subjects – when you do it wrong, it’s quite obvious.
As always, copying masters is an effective way of learning. This time I chose an early drawing by Gian Lorenzo Bernini (1598 – 1680), the father of Baroque sculpture. The drawing, Seated Male Nude, was collected by Princeton Art Museum. I am attracted to this drawing by its succinct use of marks, especially the highlights, so economic and so effective. I tried to draw on tinted paper before, and often ended up drawing a figure on top of the paper, instead of letting the color of the paper show through.
I figured if I wanted to let the paper work, I’d better keep it clean. So instead of jumping on it, I did some practice before hand. For example:
Finally, the copy:
A few notes:
I am glad I did those hatchings last week. My lines are still not neat and organized as the master’s (of course), but the hatching practice do help.
The preliminary studies paid off (I did more than those shown above). I did a very light-handed drawing first and managed not to disturb the paper too much (less erasing). The final lines are sharper and cleaner this way.
I only recently started to pay attention to this issue. In both drawing and watercolor painting, if the paper is too disturbed, it affects the final result. I know some watercolor artist draw on a different piece of paper and then transfer the image to the watercolor paper (carbon paper, light box, projector etc.)
I had a lot of fun drawing the effect of an old paper. LOL.
This was a class assignment – choose an artist to study, and then paint in his/her style. I was very into Giorgio Morandi at the time (still am now), and he became the subject of my study. To my delight, during my research, I found out that Morandi was very much influenced by another favorite artist of mine, Paul Cézanne; and he in turn, heavily influenced a contemporary artist I admire, Wayne Thiebaud (b. 1920). Have I found my “art parents?” (A term I learned from Draftsmen Podcast, S1E5.)
So I set up a still life scene and gave it a try:
I know, there’s nothing Morandi about it (see my previous post about his style). The objects are asserting and the colors are singing. I don’t dislike it as a painting, but it’s definitely not the reservedness and tranquility I was after. So I gave it another try:
Well, this is still not Morandi. It’s still me, and it’s very hard not to be me. I understand I will never be Morandi, and that’s not the point of studying a master. If every painting is a self expression, every study of other’s style is a self reflection. I have a lot of passions that I don’t know how to control, and observations I don’t know how to choose and let go.
Some artists created wonders with limited subject matters. Like Cezanne, who famously claimed “with an apple I will astonish Paris.” He did, and the world. I don’t know if Italian artist Giorgio Morandi (1890-1964) ever made any statement about the bottles and jars, but he did say, “To achieve understanding it is necessary not to see many things, but to look hard at what you do see.” He did look at those bottles and jars of his very hard, for almost a life time.
Most of Morandi’s still life featuring nondescript household objects on tabletop against an unremarkable background. They look like a humble crowd pushed onto a stage, but nothing in the composition is random. Morandi spent days, even weeks arranging these objects. The assuming is carefully achieved. Just like his use of color. The paintings often have a monochromatic look, even though he employed a rich range of earthy colors.
There’s a sense of calm and tranquil in Morandi’s paintings that I find very attractive. Maybe because my own paintings are the opposite. Even when I limited my palette, the result is often loud or even noisy. My first copying attempts were done in watercolor. In retrospect, gouache could be a better choice. Here they are:
A couple of years ago, I went to Degas, Impressionism, and the Paris Millinery Trade exhibition at the Legion of Honor Museum in San Francisco. Among the 40 Impressionist paintings and drawings about French fashion, American artist Mary Cassatt (1844 – 1926)’s pastel drawing made quite an impression on me. The gentle and soft gradation on the face of the little kid is surrounded by quick and dynamic lines, showcasing of the caring nature of a woman and the expressiveness of an artist.
Zoltan Szabo (1928-2003) was born in Hungary and later immigrated to Canada, then US. He was a modern master of transparent watercolor, and his technique books are popular among watercolorist. I learned to use big brushes and bold colors from reading his paintings.
The study of “The Last Wink” though, was for a different purpose. It is the harmony of unity of the colors that attracts me. I have a tendency to be too “colorful” with my paintings, and often don’t know how to control it. I like how the colors in this Szabo painting is so rich yet without being noisy.
J. W. Hill (1812-1879) was a British born American watercolorist and lithographer. I came across his work in a still life anthology and was taken with soft, serene and tangible feeling he created with watercolor, quite different from the wet-in-wet method I was taught in. Upon close-up examination, it is full of tiny strokes, like an engraving. Some of the strokes in the background created interesting patterns and was applied in a very painterly way. Maybe that’s how you do impasto with watercolor! 😁
In my copy, I didn’t go for the strokes. I was at a moment that my colors often ran wild. I think Hill’s Study of Fruit is a good example of unity and harmony with colors, and that’s what I went for.
I almost missed this: obviously yesterday was J. W. Hill’s birthday. So happy birthday Mr. Hill! 🎂