Old Self Portrait Post, Current Study

Was running waaay behind schedule with some coursework-related deadlines, so unable to do anything for the self-portrait day on nov the 1st.

As a compromise, here's a small study done in the old studio late summer:

And below is a study done at Battersea power station grounds (of two loading cranes) when it was briefly open to the public prior to redevelopment:

Summer Landscapes

Summer work. Been going back slowly to doing more landscapes, both plein air studies and longer interior processes. These are mainly studies on board, or with the case of the attic study below, canvas laid on board (been having problems with uneven canvas expansion in the recent warm weather, so overlaid all plein air canvases on board just to be on the safe side).

Study of the studio complex over at Bermondsey. It's... a bit grim for a summer study (the weather gradually turned better in the afternoon though, so those grey overcast-ish skies gave way to blinding afternoon light!). 3-4 hours.

two-session study of a church near Kensington High Street. There was beautiful warm reflected light under the (decorative arch?), but it was still a bit too warm and golden-hour bias in the end.

Peacock Room, Leighton House. Graphite sketchbook study done over three sessions. Regretted using pencils as I couldn't get as close as possible to an expanded value range to better describe the light (most of the afternoon sessions were spent waiting for optimal light conditions, with drawing slowly being resolved whilst waiting). Wonderful building by the way, but its a shame most of Leighton's landscape studies (which were, in a way, some of his most honest works) are scattered in various private collections, other museums, and auction listings. 

End of the first session for an attic study at a friend's place. Really wonderful, Rembrandt-esque light, but a real challenge with the low ceiling and insulation rolls! The low ceiling light is from our right-hand side, and the light sliver cutting in is better explained in the second state.

Final session of the study. Overall time: 7-8 hours.

*EDIT* just updated two of the images- the larger image for the Bermondsey studio study and the last attic study as the temperature shift was too warm in the original scan! 

Studio Clearout

Some older portraiture studies done in the studio over the past year, prior to moving out over the summer.The next few posts after these will mainly be newer landscape work, waiting for paint to dry on the landscape panels!

Drawing study of my younger brother, preparatory work for a future painting project.

Study of Leyne

Small poster study of my youngest brother- this study was done quite a while ago, almost 2 years ago

Tania, first state

Vivi, first state

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.

Poster Studies

A 'poster study', or a quick, small-scale mass sketch is helpful to solve issues in getting the visual impression from a particular composition, scene, pose, etc. It's meant to be the broadest and simplest possible expression of what you see, but also must contain some basic information that you could use in aid of the actual work itself. 

Time taken ideally for a poster study or sketch? Depends, really on what you want to achieve. Most of these were done in various drop-in evening classes, sketching sessions, life drawing sessions, from photographs, etc etc etc. usually when working in mass is more preferable than linework. They usually stop short at the 'block-in' stage, right before attempting to correct/amend drawing and considering edges. It's quite fun doing poster studies, and a goal once set by a tutor was to attempt 50 successful poster studies in the course of a single year to force yourself to think in much broader, simpler terms in mass expression. 

Procedure was like zapping solid blocks of mass in place until the overall impression is reached at, or the entirety of the support is covered. The compromise between accuracy of drawing and the overall vision as defined by the restrictive time limit is something that has to be learnt as well- the broader the overall vision, generally the more accomplished the draftsmanship involved.