Bringing Together and Links Chain

Bringing Together
What my learning has given me thus far....

Like any Life Drawing Artist, concentration on the model requires your mental energy.  I found out this truth when doing an evening class at my college. Afterwards I felt exhausted and drained almost with the feeling of a tension headache.

looking around the model

Quickly with ink

mini/tiny work

another quick 

Henri Matisse spoke of the "intimate relationship between the artist and his models. With Matisse he required no interaction with the model while working.  If the model asked him the time while working and he connected with them, then his work was finished. A mutual trust and understanding is important.

"The model ought to be relaxed and feel more confident with his observer, the emotion or feeling the artist sought to achieve his own independent vision" (Henri Matisse)

A different view from Christian Hook (Sky's Portrait Artist of the Year 14) when he does a commission work. Hook prefers to learn everything about the model hes working on. From childhood to adolescence, religion and work, feelings or impacts of life! Then he creates a work with that and his own judgement of the person. See his story on www.cassart.co.uk.

Christian Hook winning entry pic

The personal sorrow Pablo Picasso put into his Blue Period comes to mind too. I can't help but think of the emotion and tension, life and loss, love, lust and tragedy. Picasso was known for his intimate romantic and passionate activities...  He would be sleeping or in relatioships with alot of his femlaes!
Very different and some could say a more interesting approach than Matisse!

La Vie

The Blue Room

I wonder if Picasso who did have a love/hate relationship with Matisse felt an understanding with the way Matisse distanced his work ethics while he went through his so called Blue Period?  



To try and copy Matisse's work I felt I didn't need to even try to etch. A drawing in itself would be enough to understand the intricate marks the artist left.  I decided to use a fine liner as that would only let me make one mark, giving me one chance to get it right!

I found the starting point in itself a difficult decision as the end result and following processes relied on the scale, position and accuracy of my work.  LETTING THE PEN FLOW  well this was kind of impossible as I was copying his work and couldn't be as free flowing or more free hand as I'd normally be.

sleeping girl on moucharabien background

my work stomach area and just noticed no necklace!

Matisse work stomach area

The little lines that Matisse creates are very detailed in the very basic form. How he achieved such perfection and precision from putting some lines or marks was so skilled! Lets face it I'm no Matisse but it gave me a sense of wanting to create a more free flowing approach to working in this style. To restrict yourself from doing what you feel you should do, gave a different outcome and result to the work. I guess sometimes this will work for the best overall finish. Being out of my comfort zone has let me realise that my final work (sleeping figure) wasn't accurate, but at the same time it also was better than I had foreseen in the beginning.


Trying these techniques will only give me more confidence to try and push my ability. I don't know my abilities and my doubting is massive.....scrutinising everything I do.
To SEE, FEEL, TOUCH, EXPOSE, PLAY, REFLECT, EVALUATE, LEARN and ACHIEVE I guess I have to be critical and observe the good and bad of my work. To try a range of mediums.  For the accidental brilliance that might just work. Accepting the changes and embracing them. Looking at the light as well as the dark, around an object as well as at the object!

Some of the great artist like Matisse and Picasso have shown a life time of creating new works, trying new teaching and learning or stealing from one other can have a massive inpact.

Without the up and down, right or wrong, good and bad or the yin and yang, I guess the world wouldn't be fulfilled or at balance.....You can see how together a chain could emerge! From light you get shadows and in the shadows you find dark! Matisse and Picasso being the opposites of each other maybe worked in harmony with each other, being or doing better than each other led to other things!


IF YOUR STILL READING THIS YOUR PROBABLY THINKING....OK ALREADY....GET TO THE POINT!!


NOW the real epiphany happened... without the opposite or opposing sides you would maybe of got  CUBISM with picasso! but with these you got a chain......CEANNE =  PICASSO (les demon) - BRAQUE - then LEGER pulling out the guns with mathematical grids
S.DELAUNAY - R.DELAUNAY = 4th dimension
M. DUCHAMP


WAR


FUTURISM - speed -technology advances - mechanics - violence
U. BOCCIONI  = city rises + unique forms
C. CARRA = introduces collage & interventionist manifesto
G. SEVERINI Sea / Dancer = colour

DADA - HANS ARP - untitled MAX ERNST - collage and photography
FAUVISM - colour - MATISSE - BRAQUE - DERAIN
SURREALISM - dreams, expression, reality A. BRETON - MAX ERNST - M.DUCHAMP

AND SO AND SO AND SO   you see a pattern emerging, working together, against one another, alone all these artist form one big

ARTISTIC PLURALISM !!!(thanks to www.elizabethreoch.com for telling me this wonderful word)

Sources of information also from www.wikipedia.org and www.theartstory.org