DIPTYCH |
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Title: Progression
Size: 60.96 cm x 30.48 cm (both paintings) Medium: Oil paint on stretched canvas Completion: December 2021 Exhibition TextMy paintings explore the techniques presented in the work of Pablo Picasso as well as elements of my own style. Being inspired by Picasso, I explored his work in realism as well as cubism, implementing these styles into my own paintings through a new medium of oil paint on canvas . Implementing a similar theme to much of Picasso's work, I present myself in both paintings as an appearance regarding the concept of process. My work explores the idea of having an outwardly calm expression while feeling completely different on the inside.
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Inspiration |
Picasso's use of technique and the idea of progression is one that I was inspired by and wanted to explore. In his earlier works, Picasso explored the of realist style through his self portraits. His use of various types of lighting and its effect on his appearance contributes to his use of tone and the ideas he develops. In Picasso's Self Portrait created in 1901, the cool blue tones emanate feelings of solitude and isolation. His use of lighting also emphasizes the appearance of his penetrating stare observed in many of his self portraits. The warm lighting emanating into Picasso's Self Portrait of 1896 illuminates his use of color and brush strokes. This use of lighting is one I wanted to investigate through my paintings as well.
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Picasso also explores the ideas of progression in his works. As his earlier style focused more on realism, his later style revolved more around abstract works, going into cubism. When examining his cubist style, Picasso uses more vibrant hues. Instead of blending colors, similar to his earlier realist works, Picasso applies colors on top of one another to create the slight impression of form. His use of thick black lines in this style which outline the shapes in the piece also emphasizes the objects and ideas he presents in his work. The progression theme in his work creates an emphasis on both the changes in his style as well as his life. The idea of progression is one I wanted to depict in my work, especially concerning the progression of oneself in life and the variation between outward appearance and inner thoughts. In addition, as I had never worked with oil paints before, I also wanted to experiment with different stylistic choices and techniques while exploring this theme of progression.
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Planning |
The first step in my planning process was to figure out how I would implement my theme into my paintings. Having the inspiration of Picasso's work in mind, I decided I could present the theme of outward calm compared to inner turmoil as two different styles used by Picasso. Picasso's abstract or cubism style would coincide with the idea of inner chaos, while his more realistic style could portray a person appearing completely calm to others. With realism and cubism being very contrasting styles, I also wanted to ensure that the two paintings were still connected in ideas, as they are meant to be a diptych. While the variation between the two styles of the painting would create contrast, emphasizing the theme of outer calm versus inner chaos, I decided I would include an element of my own creativity as a means as expressing my theme further.
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As preparation for sketching a design on the canvases for both paintings, I created images of what I wanted to paint for each painting. I had decided the first painting would be a more realistic self portrait which would illustrate an outwardly calm appearance. I also created a sketch of my ideas for my portrait for the second canvas. As I would not have to use the grid method to map the proportions for the sketch of the abstract painting, I paid close attention to creating a sketch that I could transfer to the second canvas. The emotions I wanted to provoke in the second painting pertained to feelings of chaos and inner stress.
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I was presented with the issue of the vast difference in style between abstract and cubist pieces. A creative element I chose to add in order to connect these pieces consisted of creating shapes protruding from my head, representing fragments of myself which drift between the two paintings. These fragments would travel from the first painting into the next, adapting to the style in which they are illustrated. The fragments in the more abstract painting would consist of triangular and geometric shapes.
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Process
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For my first painting, which I intended to be more realist, I wanted to take photographs of myself as a reference to what I wanted to paint. As the idea of lighting was an eminent piece in Picasso's work that I wanted to explore, I focused on the lighting in my reference photograph for my first painting. Experimenting with different lighting, I explored hues of purples, blues, oranges, and reds that could potentially show through the lighting for my first piece. While I liked the purple tones created by the light, I ultimately decided to apply more orange and red tones to my image through the lighting. I decided this after examining self portraits by Picasso in which he implemented similar tones.
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I also examined Picasso's self portraits to find inspiration for how to position myself in the image. Although I explored the appearance of a side profile, I decided to paint a portrait where I am looking straight ahead. This would help create a deeper connection with the penetrating stare as opposed to a gaze into the distance. Picasso also implements a similar stare in his work.
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After choosing an image, I placed a grid on top of the photograph as a reference to transfer onto my first canvas. Upon transferring an image to the canvas, I realized how the sizing of the canvas made it difficult to frame the image of the painting, as there was a large amount of loose space on the top of the canvas. I planned to implement this space with the use of the fragmentary pieces. I also re-sketched a plan for my abstract cubist painting onto a second canvas. As I did not use the grid method to transfer this image to the second canvas, I adjusted the proportions of the sketch to fit the more vertical sizing of the canvas.
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Experimentation |
As oil paints were a medium I had not worked with prior to this, I wanted to experiment with their properties and blending capabilities, as well as practice techniques before starting the paintings. I began this by doing some gradation scales. The right most gradation scale contains pure oil paints and their blending capabilities. The gradation scale in the middle contains linseed oil, which I use to thin the paints. I noticed that with the application of linseed oil, the colors present are more easily blended, however, the colors are dulled as well. I then decided to paint a small portion of face on a small piece of canvas.
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This was to build skills in the application of oil paint as well as beginning to apply techniques to create realism for the first painting.
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After examining the properties of oil paints, I began painting my first portrait in a realist style. Similar to Picasso's work, a light source coming from the left side of the painting creates warm orange and red hues which are reflected off of the face. Using yellow hues, I highlight the components of the face such as the top of the nose and above the lips that have a large amount of light being reflected off of them. I then apply red hues to create depth in the piece.
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I continue to apply different values of red and orange to the skin to give it the same effect as the lighting. I also add in shadows with darker and more dull values of yellow and orange, such as around the nose area and above the lip. These shadows give the illusion of depth and create implied form, contributing to the realism of the piece. I then begin to add to the rest of the portrait, painting in mostly brown hair with yellow and red highlights due to the light source. I implement a similar process of painting while completing the rest of the image.
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Painting the cubist canvas, I applied a vibrant yellow to the areas in the face. I wanted to ensure that the colors used in the abstract canvas were vibrant and contrasted other surrounding colors, similar to Picasso's use of color in his abstract work. The creation of vibrancy when compared with the dull nature of the colors in the realist painting would create a contrast between vibrancy and dullness, emphasizing the idea of chaos in the abstract work.
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I also began to apply thick black lines to outline the shapes created in the face. The thick black lines emphasize the shapes in the piece as well as create slight implied form.
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Critique |
Similarities:
In the realist works, the similar concept of light is explored along with similar hues of orange, yellow, and red. In both my piece and Picasso's Self portrait from 1896, the red and orange tones in the skin are dictated though the light protruding into the painting from the left. In both paintings, the yellow hues created by this cast light creates the specific highlights of the faces. Darker tones of orange are also applied to the pieces to create shadow and the illusion of depth. A similar background is implemented in the two works concerning realism, as the background consists of a blend of solid colors. The idea of progression is also present in both works, as Picasso progresses through style and technique and my piece explores the idea of the progression of thought and state of mind. In both abstract pieces, a vibrant yellow color is applied to the faces to emphasize the specific yellow features. The use of thick black lines to outline certain shapes in both abstract works contributes to the emphasis of those shapes along with the creation of slight implied form. The implied expression of both pieces express the idea of sadness or stress. Similar colors of yellow blue and green are used across both Picasso's abstract work as well as mine. Differences: My realism piece differs from that of Picasso, as I implement an aspect of one of my own creative ideas. As Picasso has unfilled space towards right in the background in his Self Portrait from 1896, I implement the use of that space with my fragments. Picasso also positions himself in a slightly different stance compared to the one I chose to take. While the image of myself is looking straight forward, Picasso has a slight angle in his neck, allowing the start of a side profile. In the facial features of the realism works, Picasso's brush strokes of orange are also slightly more visible. In the abstract pieces, while Picasso implements a background filled with different surroundings of a room in a building, my piece implements a solid color background to match my realist painting. While Picasso's piece can be interpreted as having a side profile, my pieces gives the impression of a person facing straight forward. |
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Reflection |
Working with a new medium of oil on canvas, I was able to explore many different painting techniques as well as styles that I had not been exposed to before. Working with oils, I have learned about techniques upon applying color to create both highlights and shadows. Although a challenge of these paintings was the elongated horizontal sizing of the canvases, I have learned more about proportions through this challenge. In addition, in exploring the style of cubism, I have learned about the different styles in which individuals express themselves. Inspired by Picasso, my paintings connect to his work in the styles of both realism and cubism. In his cubist piece, Picasso explores emotions of sadness and inner turmoil. Taking inspiration from both his early and later works, I explore a variety of techniques of painting. My realist painting furthers Picasso's application of light and its effect on yellow, red, and orange hues. My cubist piece reflects similar emotions of chaos and mental thoughts as compared to Picasso's cubism piece. Through my paintings I have been able to explore the idea of outer appearance of calm progressing to inner feelings of chaos and mental thoughts.
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ACT Questions |
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
As Picasso implements the use of lighting and tones of yellows, reds, and oranges, I have explored similar implementation of these elements. His more abstract pieces also explore ideas of mental thoughts and the implementation of thick black lines, which I apply as well. What is the overall approach the author has regarding the topic of your inspiration? As individuals face feelings of stress and mental strain, they are able to express themselves to others through their art. What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration? In the art community, it is sometimes valuable to have knowledge of techniques of more realistic styles before attempting to do pieces in abstract styles. What is the central idea or theme around your inspirational research? My inspirational research regards the idea of progression, especially from outward, seemingly calm appearances to the inner turmoil one may face. What kind of inferences did you make while reading your research? I inferred throughout most of my research that artists intent to make art for the purpose of expression and exploration. |
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Citations (MLA) |
Self Portrait, 1896 by Pablo Picasso, https://www.pablopicasso.org/self-portrait-1896.jsp#prettyPhoto.
“Self Portrait, 1901 by Picasso.” Self Portrait, 1901 by Pablo Picasso, https://www.pablopicasso.org/self-portrait.jsp. The Weeping Woman, 1937 by Pablo Picasso, https://www.pablopicasso.org/the-weeping-woman.jsp. |