I just realize that I almost skipped the entire month of May. Well, I have been painting and taking online lessons from New Masters Academy, Watts Atelier, and Sentient Academy. The art world is online! (There is a potential danger of being overwhelmed with too many good stuffs though 😂.)
I have continued working on portrait and oil with the Zorn palette (I talked about it here). There are still a lot of the basics about the oil medium that I need to grasp, such as keeping my paint clean, using layers, being mindful about brushstroke economy etc. These skills directly affect how far one could push the range of the Zorn palette. As muted as it is, there is drama to be laid out.
The last piece is a bit too much fun. I used Gamsol to dilute my paint and put on a thin layer of background in the beginning. Too much of it makes the paint “watery.” Normally I would wipe it off or wait for it to dry. This time instead, I added more to see what would happen. And wow! It ran down with all those interesting patterns! I don’t know if the piece was ruined or what – it’s a practice painting anyways, but it made me curious about what else this medium could do! 😉
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! 🙂