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.
As I mentioned before, the paintings of Giorgio Morandi (1890-1964) often have a monochromatic look, even though he used a lot of colors. The result is a very restful and understated effect – something I always find difficult to achieve. Usually the more time I spent on a piece, the more colorful it becomes, as if keeping quiet on canvas or paper is against my nature. The same goes with details and edges. The more time spent, the more definition, and the looseness and gestures are lost.
So I tried a couple with limited time and clear goals. 1)No more than 2 hours per piece; 2) limited palette to create near monochromatic effect; 3) less definition; 4) lost edges; 5) be quiet.
I think goal setting with time restriction is an effective way of practicing. Right? :))
A most common way to practice complementary colors is simple choose a pair and limited your palette to those two (plus tints, shades, mixtures maybe). Like this:
Whichever pair of colors we choose, it is most likely one warm and one cool. In a painting lesson I took years back, we used the complementaries a bit differently. We create a painting in cool colors, and paint the warm complementaries on top. Here’s the result:
Unfortunately I failed to take a picture of the cool painting underneath, though I did let the cool colors showed through here and there. The colors were not strictly restricted to one pair of complementary colors, but it is within certain range.
I’d say the result is quite different than if I started with these topical colors. There’s a solidity and unity unique to this method.
My painting journey started with watercolor, and on the way, I also picked up acrylic and gouache. In other words, all water medium. Part of the reason I never tried oil is that I have more than enough art materials at home already, and I doubt I could ever use them up. Another part is that, I thought acrylic is the modern replacement of oil, and it could do everything oil can do.
Over the years, I met more than a few artists attesting that oil and acrylic are not the same at all. I started to wonder if I should give it try. A few weeks ago I attended a free lecture at University Art by an artist representing Williamsburg Oils (now part of Golden), and received some free colors. Well, I shouldn’t waste them, should I?
I dug out my very first acrylic landscape, and did a simplified copy of it in oil. Here they are:
A few notes:
The acrylic painting was varnished, hence the sheen.
The oil painting was done on acrylic/oil paper. I don’t know if that makes a difference for the outcome.
I only have a few oil colors to work with.
I LOVE how oil colors can be pushed around freely and mixed smoothly, even the next day! I do feel I have more control of precision with acrylic, but that could simply because I have no skill with oil at this stage. For now, I would love to try more landscapes or portraits with oil, but for more modern and abstract paintings, I will stay with acrylic. Also, if you work with collage and complicated textures and patterns, acrylic is probably much easier.
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.
This was an assignment from a painting class (acrylic) a while ago. The purpose was to learn impasto. I chose ginger because I thought the bumpy, textured surface might go well with the technique, and also I usually bought them in bulk from Costco.
It’s a small painting with a single object, and I figured I could get it done in no time. I was so wrong.
There were two things that I couldn’t get used to. First, as someone who started painting first with watercolor, I wasn’t used to putting a lot of paint on canvas. For the purpose of this assignment, we were supposed to achieve a measurable thickness. And acrylic, a water-based medium, dries flat! I ended up working in layers, waited for a long time (longer then usual acrylic time at least) for the paint to dry, and went back to add more and more.
Another thing was the purpose of impasto technique itself. It supposed to be more about expressiveness than rendering, and I had trouble leaving my strokes in and my details out. So I kept going back and forth adding things in and taking them out. I have done so many paintings on this tiny canvas, and what a heavily loaded ginger! 🙂
I posted this landscape in acrylic before, and I recently uncovered a watercolor version of it. So, sorry for repeating myself, but it’s interesting to look at them together:
I like the less defined forms and more spontaneous color ranges a wet-on-wet watercolor creates, but I also like the dark values the acrylic painting can bring out. The reference I used for the two is the same, and whatever difference you see from the these paintings are not by design. It seems the mediums just lead me there. How bizarre!