My Work, Shape Motifs and Eye Movement

 

 Seven Markers - 19¼ x 27⅝ in (49 x 70.3 cm) - mixed on paper

Seven Markers – 19¼ x 27⅝ in (49 x 70.3 cm) – mixed on paper

This recent painting is a great example of working with shape motifs and spatial planes.  I always have them in mind when developing a painting, as they prevent unnecessary or unintended diversions.  I am also aware that by restricting myself I may limit my exploring or responding to the multitude of options the painting will offer.  This is the wonderful dance that never becomes routine and the shape motifs usually win out.

In this painting the rectangle motif is primary and their arrangement almost immediately conveys the sense of a still life.  I then create the sense of space by introducing spacial planes with the irregularity along the top of the table, providing the feeling of coming forward and receding.  The table top has also been raised to the picture plane creating the strongest plane. The three squares on the table are open to interpretation providing visual movement and focus.  The lines on the centre square can be read as being above, creating movement in space, gently leading small squares above.

The seven small squares above the table are in harmony with the squares on the table  I also introduced a subtle horizontal above which strengthens the  motif and supports the horizontal arrangement of the small squares.

Now to the very important rhythmic markings.

I’ll begin with the square on the right on where the markings have a vertical feel.  I integrate this vertical feeling with a white line to the left and a parallel line connecting to the middle square.  This introduces a rhythm and provides a relationship including the edges of all three squares.

The horizontal stripes in the left square guide you to the centre square, bringing you to the dancing lines which in turn leads you towards the seven markers.

The process requires many adjustments and revisions and by keeping the shape motifs in mind, prevents me from venturing off to unwarranted directions.  It’s the motif that determines the quality of the composition.

Additionally you may have noticed that beautiful cobalt blue mark.  An accidental drip which sings.

My Work – Responding to Composition

Weights-and-Sketches-9½-x-12¾-in-mixed-on-paper

Weights-and-Sketches-9½-x-12¾-in-mixed-on-paper

I began this still life by building up layers of mixed media to establish a textured surface which invites marking and scoring.  I then marked in the table top quickly and gouged the heavy line spanning the wall and turning upwards at the right.

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detail one

I next determined the shape of the table cloth to provide an entry from the bottom edge of the painting.  Then, once on the table, changing it’s direction to harmonize with both ends of the table top.  I decided to have this direction emphasized with a series of parallel edges and lines, and these in turn determined the placement of the sketches and soaking pan.  The rhythm continues with a spatial plane (see detail one) to the right of the table finishing with the edge of the wall.

I used the same considerations horizontally as well, but with some “shifting” to convey the feeling of occupying space, especially along the top edge of the table.  I’m very pleased with the downward shift of the stripes adjacent to the soaking pan and the angle just above (see detail two).  I feel a sense of energy there.

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detail two

 The wall above invited the two rectangles and the circle.  I played with their placements until I was satisfied with how they supported the items on the table.  I especially like how the delicate circle offers a gentle place to pause away from the focus of the weights and soaking pan.

The top of the painting felt a little vacant,  prompting the arrow, introducing the finishing touch for the rhythmic parallels below.

The black edge of the soaking pan then needed rhythmic support, resulting in the appearance of the black weights.  I readjusted their placements until they felt right.  The triangular feel of the lower weight in the pan was determined to relate to the shape in the sketch at the left providing the finishing touch for the composition.

I’m always open to where the composition will guide my considerations.

Cy Twombly – Abstract Painting’s Invitation to All

Cy Twombly – Cold Stream, Rome – 200 x 252 cm (79 x 99 in) – oil based house paint and wax crayon on canvas

One of the most fascinating considerations in art is painting the intangible and this wonderful painting by Cy Twombly conveys this magnificently.  He has presented the act of doing, inviting us to participate with our own imaginations.  This is the greatest power of abstraction and I will accept his invitation and proceed with my interpretation of this intriguing painting.

I immediately engaged with the very core of abstraction, the act of marking, which we have been doing for a long time and continue to do so today.  Twombly’s swirls prompted me to consider how our desire for rhythm played a prominent role in the development of writing. We see this common thread in the symbols from diverse cultures. And we do not have to be able to read the markings to appreciate the desire for rhythmic movement through the symbols or characters.

Twombly’s natural movement of the swirls represents the gestural root of writing.  The composing of symbols so they flow and come to represent language is our greatest achievement.  His painting provided me an uncluttered gateway to thinking how all those who’s acts of doing became the foundation of culture and civilization.

I will always look forward to Twombly’s intriguing invitations..

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On another level, engaging with Twombly’s exquisite composition is a joyful dance, feeling immediate and delightful.   How he contained the wonderful swirls is masterful.  I found myself being elegantly guided through the painting feeling the rhythmic emphasis.  Arriving at his beautifully considered focus in the third row up from the bottom where the swirls are a little tighter and more layered than the rest of the painting was a joy.

I loved how he anchored the composition at the bottom right corner with a line creating a structural triangle. Magnificent.

 

 

My Work – Refining Composition

Tide – 2011 – 9½ x 13¾ in – mixed media on paper mounted on board

One of the most interesting aspects of painting is refining a composition.  I do this by working with shapes and markings which lead to unanticipated considerations.

This approach suits my temperament and I have come to trust my instincts through study.  We need a base of knowledge for growth and I feel connecting with the modern masters a great way to develop.

The subject matter of the painting “Tide” was not anticipated when I started this painting. I began with a horizontal line and what I like to term a “loop” as I quite often do.  I never tire of using shapes I have a deep connections with, as they lead me onward, something I learned from Morandi.

As I was marking the painting in search of structure and rhythmic movement, I found myself introducing a wash of blue within the loop.  This is when the rhythmic movement happened. I energized the blue wash with an arrangement of smaller loops, then introduced a circle above the horizontal line.  This immediately provided a sense of place, which I interpreted as a tidal pool.

To provide containment for the composition I introduced two slightly curved vertical lines at the left, as well as subtle horizontal lines across the top, to guide our perusal towards the circle.  The vertical line at the right also holds us within the painting. I then scratched a series of vertical lines across the bottom to complete the subtle containment.  Can you feel how your eye stays within the painting?  This wasn’t done in one step as I removed and remarked the elements a number of times until it felt right.  I enjoy this phase very much.

The same went for the smaller blue loops.  I adjusted their placement and strengths until I said “yes”, being patient with myself.

I should mention the vertical markings on the circle as it may seem odd if your thinking of the sun or moon. They are there to relate to the verticals across the bottom of the painting.  This is a good example of what I like to term, “composition before information”.

Finally I marked in another (inverted) loop below and to the right of the large loop for rhythmic support.  Can you feel the relationship and its importance?  I didn’t adjust it and I’m very pleased with its placement.

Matisse – Colour and Pattern within Shapes

Henri Matisse - Reader on a Black Background - 1939 - 92 x 74 cm

I would like to engage further with the wonderful movement Matisse provides, both with colour and with his sophisticated use of pattern within shapes.

Let’s begin with colour.   When we focus on a colour we intuitively take in the same colour else-where in the composition.   This creates movement which Matisse orchestrates through scale and placement, like musical notes, determining lyrical engagement.

For example, when we look at the blue rectangles, we also sense the blues in the bouquet, as well as the vertical in the white rectangle at the right edge of the painting.  Do you feel the circular movement?   The little notes of blue on her shoes ensure we are not held in a tight area at the right of the composition, and instead bring us gently to the left, to engage with the wonderful movement through the warms of the figure and the small notes above and to the right.   The same goes for the other colours as well.  I should note that the temperature of the colours is also a factor in movement as we connect the orange with the red shapes Matisse provides the lyrical harmony through using shape motifs.

Another great consideration is using patterns within shapes.  In other words, not permitting the complexity of the subject to disrupt the harmonious relationships of the shapes.   In the bouquet, Matisse does this beautifully by treating it as an oval containing an arrangement of smaller ovals.   The two white oval shapes containing the pattern of yellow ovals and grey markings (which match the line drawings) are a great example of pattern within shapes.  Even the light grey areas in the bouquet with the blue markings read as ovals.

These are considerations used by many artists and Matisse did it better than anyone.

Matisse – Shapes and Eye Movement

Henri Matisse - Reader on a Black Background - 1939 - 92 x 74 cm

 

I love the way Matisse invites us to joyfully participate with his paintings.  My long standing admiration only increases with time.

In this posting I would like to focus on his beautifully choreographed shapes and eye movement.

By reducing the shapes to simple rectangles and ovals, he is able to focus on the relationships of these shapes, and guide us lyrically throughout the painting.  We move through the shapes because of his sensitivity to the spacing and integration.  Modelling or superfluous detail would only disrupt the harmony.

My own initial eye movement begins with the white rectangle.  Then, sensing the vertical integration upwards from its left edge, my eye moves to the light shape above the figure’s reflection.  The curved edge (partial oval) then carries me towards the rectangle with the figure drawing.  I then find my eye moving through the small white vertical rectangles to the blue shapes, which in turn guide me to the vertical green shape.  This leads my eye to the beautiful arrangement of ovals.

Another integrating eye path which I found exciting begins with the small black angle on the figure’s blouse, at the right arm.  Following its upward direction leads me to another line just above her head.  I hope you then can see the connection with a subtle series of parallels guiding our perusal through the red ovals and greenery to the hand of the figure drawing above.

I must point out an alternate path from the line just above her head.  It also connects to the reflection of her hair returning us to her face, providing wonderfully subtle containment.

I would like to finish with the orange oval feel of the figure’s legs.  If Matisse stayed within the lines, the lyrical harmony with her face would have been weakened.

There is so much more such as colour and pattern within shapes. I may do another post.

 

Klee – Reduction and Integration

Paul Klee - Forest Bird - 1920 - 14 x 22 cm - watercolour on chalk undercoat over gauze on paper

 

Klee is one of the great masters of colour and composition, as this gorgeous painting conveys.  I marvel at his sophistication and will do my best to convey his colour temperature ratio and rhythmic integrations.

Colour temperature ratio is the relationship of warm and cool.  We can see it in the influence of the cool blues on the warm orange and red shapes.  The blues poetically energize the warms without competing, creating lyrical variations that are music for the eye.

The black shapes are beautifully balanced and supported by the dark grayish shapes as well as three smaller brown shapes.  Can you feel the relationship of the bird’s gaze with the brown shape at the right edge of the painting and how the other two brown shapes return you to the bird? It’s wonderful.

The sensitive parallels provide a structural rhythm that is more felt than seen. One great example is the relationship of the bird’s front leg, the black line in its eye, the brown line under the orange circle and the black line leading to that magnificent green circle.  The other leg has parallel support as well.

The background shapes run into each other in a number of places, integrating the painting beautifully.   The bottom of the foreground shape of the bird’s neck connects to the edge of the blue shape beautifully.  Klee masterfully provides exceptions to the integrations such as the closed shapes of the circles and where the orange touches the blue just above the bird’s beak.  We sense the variation.

Klee used the consideration of pattern within shapes on the bird.  To hold the viewer just perfectly.

I think how Klee sensitively provides the feeling of the forest is magnificent and I absolutely love that green circle which is beyond explaining.

My Work – Shape Motifs, Reduction, Rhythm and Spatial Considerations

Blue Cup VI - 37 x 50 in - mixed media on canvas

This composition with my blue cup is a great example of reducing composition to an arrangement of shapes.  This seemingly basic approach opens the door to wonderful spatial ad rhythmic considerations.  The most important aspect of painting is the viewer’s engagement with how things relate, and one of the best ways to accomplish this is working with shape motifs.

This painting could be described as an arrangement of rectangles supported with a sub motif of ovals and a triangle.  The challenge is orchestrating them, which usually calls for considerable reworking, until I “feel” their relationships.  I become excited when this begins to happen and will stay with it no matter how many adjustments or refinements my sense of rhythm and harmony commands. I never tire of the process.

The primary relationship in this painting is between the cup and the rectangular pan.  The distance, or space, between has an energy which is embraced by the table top and supported by the rhythmic arrangement of the small white sketches.

Now to the very important play with lines and markings on the table.  I felt the ovals and half ovals needed rhythmic support.  Can you see the curved lines and feel their influence with the ovals?

The four lines (detail) between the cup and the pan were instinctively placed to support the four sketches. The triangle below was instinctively placed for a counter movement toward the sketches. There is also a small angle (detail) at the right which guides your eye back towards the sketches. 

The balance of the painting supports the rectangle motif with the lines at the top harmonizing with the horizontals of the table, especially the front edge.

A very important connection is a small line on the wall, just above the left edge of the soaking pan.  It carries you upward towards the strong white line carved into the painting.  I spent considerable time determining the placement, weight and length to harmonize its relationship with the cup and pan.  I also used the same consideration with the right edge of the cup and the edge of the white sketch above.

Striving to ensure every mark and shape have harmonious relationships and avoiding competition is the key.

If the shapes were not simple their relationships would not be felt as strongly.

 

 

Matisse – Shape Motifs, Site Paths and Abstracting

Matisse – Bathers with a Tortoise – 1908 – 179 x 220 cm – oil on canvas

This homage to Cézanne’s magnificent Bather compositions is a beautiful move towards more abstract considerations.

Matisse immediately engages us with the figures and tortoise by simplifying (abstracting) the background.  Their oval motifs and positioning create beautifully considered oval site paths.

If we begin with the tortoise our eye carries up the arm of the crouching figure to the orange of her hair.  We then move to the black oval of the standing figure’s hair which in turn leads to the black in the hair of the seated figure.  The oval feel of the third figure guides us downward along the direction of her feet returning us to the tortoise.  If you follow this path in either direction your finger will be drawing an oval.

There are others. From the tortoise to the angle of the seated feet, connecting to the curve of her back and head taking us to the oval in the standing figure.  We then move towards the orange, bringing us back to the tortoise.  If your eye path takes you from the tortoise to the exaggerated foot of the standing figure up the contour of her back you will continue towards the orange and return to the focus of the tortoise.  They are not intended to be apparent.  You will sense rather than see them.

Reducing the background to three bands was a bold move in 1908, and by doing this Matisse holds our attention on the relationships of the figures and tortoise.  Any detail in the background would only disrupt their rhythmic integration.

He masterfully provides a shift on the bottom edge of the blue band behind the standing figure.  Can you feel the sense of depth this creates?  The edge then moves downward at the right edge of the painting, enhancing the oval motif.

The emphasis of the length of the central figure’s left foot ensures the importance of the tortoise.  The weight of the seated figures feet sensitively anchors the composition by almost touching the bottom edge of the painting.

I must point out the how Matisse supported the seated figure with a simple dark green shape.   I have come to appreciate the sophistication of the reductive process.

This is a great painting, leading the way towards the marvellous considerations in twentieth century art.

 

Giacometti – Shape Motifs, Spatial Planes and Integration

Alberto Giacometti - The Artist's Mother - 1937 - 24 x 20 in - oil on canvas

Giacometti was a master of composition.  In this painting he demonstrates this with how he merged his mother with her surroundings.  I will do my best to explain some of his superb considerations.

One of the best ways to convey a sense of space is to frame the subject, which Giacometti does beautifully.  We are looking through a large rectangle which seems to be suspended in front of the figure.  Can you feel the space?  We then engage with the arrangement of rectangles which make up the structural elements of the wall behind.

A good entry point to how Giacometti uses these supporting rectangles is with the horizontal black line running across her chest forming the tops of a series of vertical rectangles.  These rectangles relate to another series of verticals on the wall behind.  If you look closely you will also see how they connect or integrate with the figure, especially with the vertical rectangle integrating with the light ones on her shoulder and below.  If you blur your eyes the integration is very strong.

Note how the lines of the wall support the figure, especially at the shoulders and that wonderful angle at the top of her head.  The lines extending from her shoulders, stabilizing her, is magnificent integration.

There are some wonderfully subtle rectangles which are actually spatial planes.  We have the feel of one in front her upper left arm with its top being the line extending from her shoulder (see detail)  It is not initially apparent, but becomes strong when you become aware of it.  There is another just below.  I should also point out the dark vertical rectangle just above and how it provides a very sensitive support for the figure.  Remember the intention is they are meant to be felt more than seen.

                  Her face is very complex with some wonderful cubist planes. (see detail)   The most noticeable are the white shapes in her hair above her forehead with the sensitive lines connecting and extending the planes onto her forehead.  I love the vertical one in front of her neck and mouth leading up to her nostrils, connecting to a thin line leading to the left forming the top of another plane.  The vertical also continues upward connecting to the vertical above, solidifying the figure with the background.  At the risk of over explaining this wonderful integration, reverse the direction from the top.  Your eye will connect to the light vertical leading down to her hands.

I marvel at the quality of the horizontal forming the bottom of her hair behind, then, at the right connecting to vertical shapes which create the feel of planes in front.

I mustn’t neglect how he relieved the strong vertical and horizontal structure with a very sensitive oblique rhythm of parallels.  Let’s return to the white plane in her hair pointing up towards the right. Just below to the right is another small plane paralleling the direction.  When you go to the left of her head you will find other markings echoing the movement.  And a most important light one below her collar.  We may not notice the oblique movement but we will certainly feel it.

Once you train your eye to notice the complexity you come to appreciate the sophistication of his considerations.