Gordon Museum Sketches, Part II

A bit on the side regarding Joseph Towne and the nature of his works shown in the Gordon Museum, together with the final sets of drawing studies:

Joseph Towne (1806-1879) was an English moulageur and sculptor who spent the majority of his professional career attached to Guy’s Hospital. Talented from an early age, he showcased works in the Royal Academy shows, but the majority of his career was spent working with several key figures in Guy's Hospital in London. His total output was estimated to be more than 600 models- the bulk of it were dermatology sculptures- with nearly a hundred out that the total amount being anatomical and pathology/comparative models. He is, however chiefly known for his anatomy ceroplastics (coloured wax models, the ones from which the studies were done).

Distinctions in Towne’s work in comparison with other contemporary anatomical models are that ‘…European models (tend to be) models of the living…’ (Towne’s models) as ‘…models of dead people… Towne modeled what he saw’. (Edwards, W. 2013). Roberta Ballestriero, a researcher specializing in wax anatomical models noted the main contrast between Italian and English/German treatment of anatomical waxes relate to stylization vs. anatomical realism. The models in the Cagliari collection were ‘Anatomical Venuses’ compared to the stark, brutal realist depiction of a dissected corpse as per Towne’s treatment. The Cagliari models made by Susini were influenced by a neoclassical tradition, comparable to that (as observed by Ballestriero) of Canova’s statues. However, it can be noted as well how they seem to use the ‘venus’ classification to depict a sensualised figure…

Whilst the Towne models tend to have minimum adornment, being depicted mainly for its intended purpose (as teaching models).

Regardless of treatment, they were all masterful depictions of anatomical figures, and perhaps more importantly as well, the rare instances where overlaps in works designed for a didactic purpose transcend and assume an aesthetic quality unique to the circumstances of its production.

References:

Ballestriero, R. (2010) Anatomical Models and Wax Venuses: Art Masterpieces or Scientific Craft Works? Journal Compilation, Anatomical Society of Great Britain and Ireland. Vol. 216, pp223-234.

Edwards, W.G.J. (2013) Interview with the curator. London, 14 March. [William Edwards is the curator of the Gordon Museum of Pathology in King’s College London].

Riva, A. (2007) Flesh & Wax: The Clemenete Susini’s Anatomical Models in the University of Cagliari. University of Cagliari: Ilisso.

Gordon Museum Sketches, Part I

As mentioned in the previous post, here are the working sketches for the Gordon Museum project for my coursework.

On-and-off over the past 10 months, I have been based in/working at the Gordon Museum of Pathology in Guy’s Hospital near London Bridge, as part of my coursework. There, I started some research into the ceroplastic sculpts of Joseph Towne (1806-1079), an English moulageur and sculptor. There were a series of wax anatomical models of his (amongst other things you’d expect in a pathology museum) based in one of the rooms which were used as a starting point for creating work. Thus, these here sketches of the ceroplastic models of Towne.

They took a pretty long time to get reasonably correct, even in the basic preliminary contour/line drawing stage. And with the added caveat that we cannot take photos meant having to schedule the time to be in working from the display cases made the project pretty slow-going. In the end though, they turned out pretty nicely, with some of the sketches being turned into photoetches and intaglio prints.

Part two of this post continues with the last few sets of sketches (large double page drawings).

Coursework Shows and Recent Studio Things...

Apologies for the long delay in between posts, been busy lately with coursework-related projects in campus, and with a pretty hectic moving schedule over the summer break. Had a bit of downtime lately, so will catch up with showing recent events and things happening.

(above) Shots from a recent MA interim show that we were a part of in London, the space was absolutely massive as seen from the pictures above. Pretty intimidating space to fill with work...

(third image down) My small contribution for the MA Art & Science course- a series of inked etching plates of anatomy studies done at the Gordon Museum, King's College, London (more to follow in later posts about this particular project!)

(above) This tiny study made it in to the recent Royal Society of Portrait Painters Annual Show in the Mall Galleries in London. Sadly didn't manage to get a photo of the panel with the frame, turned out pretty nice

Studio in progress.

Sketchbook drawings and paintings, round 3

 

A bit of painting & drawing studies for the new year!

Several poster studies from a while back & Boldini/Velazquez study

Panorama Studies

 

Unusual compositions for panels and canvases are often interesting avenues for experimentation. These are a series of small rooftop and hilltop studies done over the summer, a small counter for the grey xmas week!

Sketchbook Drawings and Paintings, Round 2

More sketches and figure drawings. Trying out certain approaches towards construction in figure drawing, i.e. 'less blocky', going for identifying sweeping, gestural statements and then narrowing down to key anatomical aspects. Some orchestral sketches to add to the mix as well.

Finished charcoal drawing for the painting re-try.

Landscape Study, King's Cross

The sun sets, man dies. It is right. But what a pity not to be able to paint anymore.

Mancini, Antonio. (c.1852) In: Heisinger, U. W. (2007). Antonio Mancini: Nineteenth-century Italian Master. 

 

One of the last of a series of major projects attempted for the end of my undergraduate course. The location was the handyside area near the renovated granary square near King's Cross Station. Took about 7 weeks on-off, partly because the study was started in mid-April, but due to a bout of really bad weather and setup for the degree show the study was postponed for most of May, and it was finished at the current state in June (something like 7-8 overall sessions).

(above) The first drawing of the study- many, many, many changes to the drawing, perspective from this initial state.

 

 

Halfway through the study- the lay-in was relatively there, but it was time to get more specific and more accurate in the drawing. From this state, had help from a member of the KX Estates people who would stop by and offer crits and point out the mistakes (in the drawing, especially even up until the end!) Many thanks to Aleks for his boss observational skills

This study was counted of sorts as a graduation piece, I am beginning to confidently work on a sustained study with improvements in the overall drawing- the challenge of a long study seems to be being able to tighten the drawing stage, and accurately expressing the visual phenomenon in regards to the amount of information that can be conveyed. 70% of the time unfortunately is a waiting game, having to sit out until the correct lighting situation presents itself. Out of an average 3-4 hour session, there was perhaps only a 1-2 hour window of opportunity for observation of the cast shadows (even then it changes dramatically depending on fluctuating light). So plan the drawing! The perspective was a real pain, and the drawing changed quite a lot throughout the session, partly because every subsequent sessions seemed to present new information.