Monthly Archives: December 2013

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

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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

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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

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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.