Part 4. Project 6. Research (2)

 

Egon Schiele

Egon Schiele, Self-Portrait with Physalis, 1915

Egon Schiele, Self-Portrait with Physalis, 1915

 

 

 

 

 

 

 

Pose – quirky, interesting, striking.  Lovely use of the negative space and the juxtaposition within that with the physalis.

Frank Auerbach

http://www.npg.org.uk/collections/search/portrait/mw58809/Frank-Auerbach

Interesting posture with the head tilting back, the dramatic use of energetic lines adds intrigue and enough abstraction to draw one into the image.  The nature of the line itself evokes atmosphere and a sense of emotion.

Frida Kahlo

Friday Kahlo, Self Portrait with Thorn Necklace and Hummingbird, 1940

 

 

 

 

 

 

 

 

 

Interesting dream-like state surrounding the subject – however, the straight on, central arrangement of Kahlo in the image somehow deadens the impact.  It reminds me to consider interesting composition to engage the viewer.

Elizabeth Peyton

http://www.everypainterpaintshimself.com/article/elizabeth_peytons_portraits_1991

Interesting position, almost ethereal use of paint. There is a whimsical energy to the work – the emotion behind the image feels contemplative and restful.

Marlene Dumas

http://www.tate.org.uk/context-comment/articles/close-up-evil-banal-marlene-dumas

An unusual posture that draws in the viewer, clever use of light/dark. The partial abstraction of parts of the image and the negative space all draw the viewer in to the main point of focus, the eyes.

William Kentridge

http://premierartscene.com/magazine/william-kentridge-at-moma/

Texturally interesting using the printed paper as a background.  The positioning of the head and the depiction of the eyes all add to the impact – I find myself assigning emotions to the face as I contemplate his expression.

What do I take from these as pointers for my own work?

a) posture, it’s making a striking, interesting, dynamic posture that works really effectively in engaging the viewer

b) the consideration of negative space – how to use the space to add to the story, to leave out parts to draw the viewer in more

c) tone and texture – choosing an interesting way of depicting eg. fabric, that juxtaposes with the method of drawing the face.  Adding in the variations again adds layers of energy and interest to the piece

d) the story – whether in the depiction in the features of the face, whether the background, there is an intensity to a portrait that evokes a story which then draws the eye and the interest of the viewer.

 

 

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