Concentration #3 (Continued)

Concentration #3

Concentration #2: Sketch + Photos

Concentration: Preliminary Sketch

First Concentration

Mentor Artist and Concentration

Edward Hopper
Early Sunday Morning
1930
Whitney Museum of American Art
New York City

Edward Hopper (additional artwork)
Summer Evening
1947
Private Collection













In Early Sunday Morning, many of the features characteristic of Hopper are apparent. Firstly, on the building face he uses both a bright red and green with a clear partition between the two. The simple of division of bright and even more exaggerated glowing is an idea that I will use in the concentration. Another feature of his work is the use of light as geometry. Hopper is noted for frequent use of rectangular shapes and shadows cast through windows. In this piece that is visible with the fire hydrant and the window above it. Even in the composition there are many geometric features, like the long series of windows on the first and second floors. Lastly, similar to my piece “Facade”, this piece contains clear divisions between levels of the building, and the blue sky around. The idea of having distinguished background and object with contrast is something for the concentration. I additionally uploaded the painting Summer Night to supplement Early Sunday Morning because I saw clear similarities with the nighttime landscape I did of my house porch under the moonlight. An idea that I used similar to Hopper was the illumination of an area (porch) which is otherwise enveloped by darkness and near blackness. 

In my concentration, firstly I plan to explore the element of “glow” that is found in my previous pieces. While some work can be dull in nature, with reduced saturation, I plan to intensify the vibrancy and radiance. Also, in terms of color I plan to use primarily warm colors, such as reds and yellows because of their tendency to enliven paintings, and give the desired effect through color. Lastly, in terms of space I will make the object occupy the majority of the composition. I think that I work best when dealing with small details, therefore by enlarging the image will help in that goal. An example of this is below with the candleholder, which served as an example for me for the necessity to make the objects much larger to emphasize the light in its base.

My work related to concentration:

Multiples: Preliminary Sketch

Multiples Pictures

The following are five pictures that I took of multiples of objects:

Multiples Research

Lisa Milroy
1985
Shoes
Tate Modern Gallery
London, United Kingdom

In this painting titles Shoes, we see pairs of black/blue high heels, organized into rows and columns. Based on the style of the shoes, and their refined, polished material, one would assume that they are made for formal occasions. Milroy chooses an off white background to place the rows of pairs on, which blue shading towards the right. Typically, when multiples of accessories or clothing are depicted, one possible allusion is that of consumerism, in that the artist finds it necessary to represent the object in access. In this painting however, the mood is much different. The shoes are nearly identical, yet occur in the different position. Here the use of repetitions in the pairs gives a mood of routine and monotony. Perhaps representing individual days on which they are worn, the identical pairs' rotating of angles and directions give the viewer a sense tedium, maybe representative of a work day, and the vain attempts at originality that it often brings. Interestingly, there is a flaw in the constant variations when the pair in row 1 column 1 is repeated in row 2 column 4, functioning humorlessly as an unintentional slip up in the owner of the shoes' creativity. The author makes great use of simplicity in highlights, often being a single brushstroke of white that fades into blue/black. What really unifies this piece is that though there are differences in each pair, it is unified with the compositional symmetry of the 4x3 structure. The subject choice of dress shoes and the use multiples in varying positions ultimately compliments the piece's mood of formality and clean order.

Elin Pedleton
2005
Gummy Bears
Riverside Art Museum
Riverside, California, U.S.

Elin's Pedleton's Bears shows five gummy bears on a grey surface. The colors used are all simple, bright, and fun. Being a popular shadow choice for transparent objects, the artist uses well defined blue/purple shapes, with the light source appearing to originate in the upper left. The candy here does not appear to have been placed in any particular order, but instead it seems as if they have been just dropped arbitrarily on the surface. Even on these small clear pieces, white highlights occur, especially visible on the red and orange bears. This painting does a tremendous job at showing transparency with bright shades towards the bottom, like the lime green on the generally dark green bear, which give the impression of clearness. The scattering of the multiples and Pedleton's vivid illustration of light passing through them gives the painting a mood of playfulness and jubilance. It is definitely simple, and does not have quite the symbolic depth and compositional complexity that other examples might, but that fact does contribute in part to its sense of charm. The artist does not attempt to make any broad conclusions with her work, but her use of color and multiples does succeed in showing a pleasant and charismatic mood.

Self Portrait: Preliminary Sketch

Self Portraits

The following are five self portraits that I took in preparation for my self portrait painting:






 

Emotional Portraits Research

Harold Pinter

1992

Justin Mortimer

National Portrait Gallery 

London, UK

In this portrait, a man is shown from chest height in front of stacks of books lining a red-orange wall. This painting is alarming, and the viewer is immediately shocked by the garish shade of the backdrop used. It is bright, patchy, and constitutes a large portion of the piece's composition. This contrasts with the blue sea of books that is piled to the height of his neck. The use of the prop of the book gives the piece an academic, pensive quality to it. While the red emits flare and perhaps anger, the blue represents tranquility, and their contrasting combination culminates in a fairly disturbed look on the man's face. Pinter gives the subject of his gaze a distanced direction, whatever that subject may be. This expression, one of pondering, is thematically consistent with the idea of academia and books piled up to one's head, figuratively and literally. His eyebrows are shown in an uncertain, questioning position. This look of either vacancy or deep thought, probably the latter, is confirmed with the gentle, expressionless placement of the lips. He is not frowning, but not smiling either. His facial expression and body language simply show thoughtfulness, a conflicted contemplation that manifests itself also in the background. 

Peter Monkman

2013

Julia Catherine Donaldson

National Portrait Gallery

London, UK

Here we see a woman sitting on a bench with a notepad in hand, perhaps a writer, poet, or journalist, Her blouse is a bright red-orange, with a pale skin tone and slight frailty. In the background, there are endless shelves and boxes with random objects that would indicate it is some form of storage. Interestingly, barely any of the objects can be recognized and their shapes are vague. The only noticeable prop is the fish that are apparently swimming through air to the left. Also, around the woman are twinkling, star-looking dots which adds to the sense of magic. What is fascinating about this painting is the presence of the woman. Though her blouse is colorful, most of the charm and delight we can observe is found in her elegant grin. Though she is not elderly, there is a sage element to her, as she smiles directly to the viewer with stars around her. As the woman writes in her book and glances upward, the mundane objects and clutter surrounding her come to life with excitement and color. This perhaps serves as a commentary on the nature of writing and its ability to animate, but without excessive analysis, it can be concluded that the magic we experience is primarily derived from her expression. As she sits upright with good posture and positive body language, showing us deep smile lines in the grin of her porcelain face, the painting creates a sense of enchantment. 

Nighttime: Preliminary Sketch

Nighttime Pictures

The following are four pictures that I took of nighttime landscapes: