Ptrogress as of 4/5/17
This is what I have completed with my sculpture so far. I am mostly done, but I plan on fixing a few problems, and I am currently debating whether or not to add more figures. I like the way that it has turned out so far, but I am also trying to decide on how I want to present it. Right now I am leaning towards hanging it instead of having it rest on a surface, but I have to figure out exactly how I want to do this.
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Louise Bourgeois was born in Paris in 1911. Her parents sold tapestries, and the family split their time between their apartment above their shop and their villa in the countryside. While growing up, Louise's father had an English mistress, who also happened to be Louise's tutor, and she lived with the family, creating a great deal of tension that would later influence Louise's artwork. Prior to studying art, Louise studied math and philosophy. During her time as an art student in Paris, she became familiar with Surrealism, and in 1938 she opened up her own gallery in part of her family's tapestry shop. She met Robert Goldwater, an art historian, and married him. They moved together to New York City in 1938. After Arriving in New York City, Louise began studying at Art Students League. She spend most of her focus on printmaking and painting. She also gave birth to three children. She was able to meet many art critics and dealers through her husband, and was introduced to Alfred Barr, the director of the Museum of Modern Art. He bought one of her pieces to put on display. In the 1950s and 60s, as she got older, Louise began experimenting with new materials including latex, plaster, rubber, marble, and bronze. After he husband dies, Louise started teaching throughout New York City, and became an active feminist and member of the Fight Censorship Group. In 1993 she was even chosen to represent the United States in the Venice Biennale.
Above (left to right): Femme Maison, Maman, The Bind Leading the Blind, The Destruction of the Father
Below Louise discusses some of her inspiration and some of the content of her work. 1. How does Louise use her experiences as a child to fuel her work? 2. Although Louise has works with many different materials and looks, the meaning behind them all seem to be connected. How does having a variety of materials and looks used effect her overall message. 3. Scale is also a common theme in Louise's work. How does scale effect the power of her work, and how can this idea be applied to your own work? As of 2-17-17 There are somethings that I might change about this painting if I had a chance. I think that I would make the white out of many different shade of white to give it some more interest, and I would probably make that white paint a bit more translucent. Even though I would make these changes if I redid this painting, I like how it turned out and I really enjoyed working in this style of painting. As of 1-26-17
I was absent on the very first day that we started working on the paintings and late the second day, so I was off to a little bit of a late start. I think that I like what I have so far, but based on what I've done so far, I think that this will take me longer than I expected it to. One thing that I want to work on is making sure that the paint is at the right translucency before I start painting. This is especially important for my next step. I am also going to start making sure that I take consistent looking picture, and hopefully more of them.
and even had an influence on some of his later artwork. These comics also got him interested in drawing and his mom enrolled him in the Cleveland School of Cartooning. Guston was also enrolled as the Manual Arts School in Los Angeles. Here he studied Cubism and philosophy. This also where he met Jackson Pollock and the two were eventually expelled together for distributing pamphlets mocking the English department at their school. In 1930 he got a scholarship to study at the Otis Art Institute.
30s
In 1931, Guston opened his first solo exhibition. Between his studies, he traveled through Mexico, working odd jobs, and studying anti-war murals. Here he got much of his inspiration for his figurative paintings using fresco like techniques. He enrolled in the WPA’s Federal Arts Project and painted murals throughout the United States which he continued until 1942. 40s & 50s In the early 40s, he started painting on an easel again and his style started becoming influenced by realism, abstraction, and references to myths. He started developing his signature styles which were textured, and restricted to just a few hues. In the 50s, he completed his first abstract works. He viewed his brushstrokes as autographic, telling his story and literally making his mark.
60s
In the mid 1960s, he started disliking the encouragement of isolation that he felt was encouraged by abstraction. This, along with political turmoil in the United States, helped push him to return to figuration. In 1970, he exhibited some of his first works in his new style. This style took him back to the cartons he read as a child and often contained imaged of cartoon hooded KKK members. With these paintings, Guston meant to take a stand against the justice, hypocrisy, and injustice that he had seen within American politics.
Other, non abstract expressionist paintings.
Left to right: Untitled (Cherries), 1980, The Studio, 1969 Untitled, 1980
Here, you will listen to Philip Guston talking about and discussing his artist process. Make sure you pay attention to what he considers to be key elements of this process.
1. In the video, Philip Guston talks about how destruction plays a role in his artistic process. How do you think that this process gives his paintings content?
2. Compare Guston's art from before he started abstract expressionism to his more famous work from after his time in abstract expressionism. How has his time as an abstract expressionist influenced his later works. 3. Philip Guston limited himself to working with a small range of hues in his later years. How do limitations like this help or hinder an artist's creative process? Progress as of 12/12/16 Here is all of my progress from my final weeks working on m self-portrait. I found it difficult to draw an accurate sketch of myself and it did not really turn out the way that I wanted it to. I do like most of the marks that I made with the conte crayon though. I think that I was able to copy the Old master’s mark. There were some place where the lines could have been a little bit more delicate, but overall I think that it was good. If I could change my drawing or redo it, I would try to draw myself more accurately and add more to the background. I wanted to add some very basic curtains to balance our how I was off center. I think that it helped with the composition, but I definitely think that it could have looked better or a little fuller. Progress as of 12/5/16 I started my sketch, but I still have a little ways to go with it. I am having a little trouble with accurately draw myself, so it is slowing me down. I also started practicing some marks in my sketchbook that might be helpful to my self-portrait. Progress as of 11/21/16 I was able to use some of the ideas that I had gathered in my sketchbook to make a (hopefully) final decision on my what I wanted my self-portrait to look like. I was also able to take the picture that I will be using. After a busy week I was not able to get to sketching, and I am currently in the process of figuring out how I want to crop my photo and will start sizing my paper soon. Hopefully I will be able to make more progress over the upcoming 5-day weekend. Progress as of 11/14/16
I am still in the planning stages of this project and these are my sketches of the ideas that I have so far. I am happy with a few of my designs so far, so I should be able start working on the project past this stage fairly soon. Here I have planned out different kinds of poses, outfits that may suit each post, as well as hair styles and possible props. Peter Paul Rubens was born in Germany, but grew up mainly in Antwerp, Belgium. Immediately after he finished his artist training, Rubens headed towards Italy where he copied and studied the old master drawings and paintings. After he returned, Rubens had much more of an Italian style, often emulating the old masters. Even while he was alive, Rubens was recognized as a great artist and had many commissioned works, especially "historical pieces" about religious stories or mythical subjects. He was so renowned that he even became a court painter for Archduke Albert and Archduchess Isabella of Belgium. Rubens was not only an artist though, he was also a diplomat. Rubens would become an Ambassador to the King of Spain and would negotiate a peace treaty between England and Spain for which he would be knighted in both counties. A little interesting excerpt about Ruben's family (from peterpaulrubens.org)
"Peter Paul Rubens was probably born on June the 28th 1577 in Siegen, Germany. His parents Jan Rubens and Maria Pypelinckx had left the catholic Spanish-dominated city of Antwerp because of their Calvinist sympathies. The family had moved to Cologne with the children. Father Rubens, however, nearly escaped death sentence in Cologne after an affair with the princess of Orange. Mother Rubens managed to have her husband freed and the family accepted to be exiled to Siegen, Westphalia. It was there that the sixth child, Peter Paul, was born." More artwork by Rubens http://www.peterpaulrubens.org/ More information about Rubens http://www.nationalgallery.org.uk/artists/peter-paul-rubens Progress and Final as of 11/4/16 I am proud of my final product, even though it is not exactly the same as the original. I am especially proud of the left foot. It was tough at times, but I really enjoyed this project, and I think that it has allowed me to become better at using line quality as well as using conte effectively. Progress as of 10/27/16 Putting the very first mark onto my page was a very difficult step in starting this process. I was not very confident in my ability to accurately mimic the lines that I needed to capture what Rubens had done. I went for it though. As I am going in with the conte crayon, I am noticing some areas of the sketch where my proportion was off, I hope that as I continue, I will be able to find a way to change this with the conte. Progress as of 10/23/16 |