Albrect Dürer
Self portrait age 13 , 1484 silverpoint Self portrait 1493 conté crayon Portrait of Erasmus (nd) black chalk
Rembrandt van RijnIvan Albright 1897-1983 Oscar Kokoska 1886-1980Chuck Close
Into The World There Came A Soul Named Ida Self Portrait 1912-13
oil on canvas oil on canvas
Roy 1994 oil on canvas Self Portrait 1995 oil on canvas
Self Portrait 1629 oil on canvas Self Portrait 1634 oil on canvasFrida Kahlo Francesco Clemente
Self Portrait 1640 oil on canvas Final Self Portrait 1669 oil on canvas
Self Portrait 1943 oil on canvas Self Portrait 1949 Self Portrait 1980 watercolor on paper
Max Beckmann 1884-1950 Portrait of Zeretti # II 1923 lithographyDostovesky # II n/d drypoint
The handout on portraiture and the Mendelowitz/Wakeham text provide a number of illustrations to help you understand form, proportion and structure and the placements of features.
What have we discussed concerning general form, proportion and structure?
(Mendelowitz/Wakeham 267) " A problem beginning students experience in drawing the head is conveying a convincing sense of structure...." While our Drawing I course does not provide the time to study anatomy, we have tried to become sensitive to and aware of the skull's structure through observation and touch. Continue the "touch" exercises we began in class. Proceed to P-1.(coming soon)
(274-275) Robert Arneson, Cheek,conté, oil pastel and oil stick is a self portrait that "projects a self-image of relaxed warmth and good humor...." P-3, Eye of the Beholder, 1983, acrylic, oilstick on paper, 38X53 (coming soon) is another self portrait that not only provides us with a glimpse of the artist's personality but also with his sense of structure. Under the mass of texture lies a clearly defined inner and outer skull region. His finger pokes into the seemingly empty socket; the bow is knitted and lips twisted revealing the clenched teeth.
(309) Kathe Kollwitz's Peter Reading in Bed, 1908, pencil, also provides us with a marvelous example of the artist's awareness of structure. Light pores in from the left of the picture plane and strikes the boy's face. The contrast of illuminated surfaces and areas of shadow help to define the 'dimensionality' of the forms. Note the striking definition on the bridge of the nose and around the boy's left eye and lips. In P-4, Two Studies of a Woman's Head, c 1903, black chalk on tan paper, 19"X24"(coming soon), Kollwitz's uses an all-over light but continues to define structure and form. She clearly acknowledges the form of the brow and it's importance in defining the eye area and she very carefully OBSERVED the pull of gravity. The flesh is pulled downward and the pressure of the surface on which the face rests is visible in the forms of the face.
Your final project
is a self portrait. We have discussed it in class...briefly and in
general terms because the project provides you with an opportunity to express
yourselves in very personal and individual ways. While you are to
create your images through direct observation and each must take up at
least one fourth of an 18"X24" sheet of paper, you may include other objects
and/or images of yourselves or others through direct observation or not.
Here are three examples of student self portraits. What message does each
convey? How has the objective approach been used or changed? Do you
think the students have idealized their forms? Does introspection
play an important role in any of these images? What do you wish to express
about yourself? Does the humor of Robert Arneson or (8) Paul Schmid
appeal to you? Perhaps you wish to explore the expressive natures of Oscar
Kokoska orMax Beckman.(coming
soon)
Albrect Dürer(coming soon)
Albright appears to use exagerated detail to define form and to create a psychological interaction between the viewer and the image in the painting. Into the World There Came a Soul Called Ida suggests a deterioration of the subject. The over stated abundance of flesh, the posture of "Ida", and the light and color of this image add up to create a very powerful albeit difficult image of aging.
Here the artist focuses on his own image and an array
of objects placed on the table before him.The high contrast use of values
helps to emphasize each visual structure while the darkened negative space
helps us to focus on the figure.
Self Portrait, 1935(coming
soon)
Typical Albright in his manner of over emphasis on detail,
this portrait of human frailty depicted in this very large, once powerful
aging man plays upon our emotions. The painting isn't meant to be "beautiful"...a
pretty thing to decorate one's home and delight the sensibilities....instead
the artist paints a view of reality...work, life, aging and dying.
Detail of And God Created Man in His Own Image,
1930-31(coming soon)
Oscar Kokoska(coming
soon)
Chuck Close(coming
soon)
Rembrandt van Rijn(coming soon)
Frida Kahlo(coming
soon)
What do you see..... What have we discussed......?
What happens to the whites of the eyes as light and shadow
occur on the surface of the face?
How are the depths of the socket areas and the heights
of the nose conveyed?
How does the pattern of light and shadow emphasize structure
and form?
Detail of Self Portrait in Tuxedo, 1927 (coming
soon)
Barry Moser(coming
soon)
P-1. (coming soon)
This is an anonymous student drawing produced in an American university
art department. The gaunt subject provides an excellent opportunity for
structural analysis. Observe the structure of each form. How
does the brow help to form the eye sockets? Look in a mirror and
touch your own brow and feel the ridge over your eyes. Follow the
contour of your eye sockets around and onto the cheek bones. Continue to
touch your own form following the cheek bone into the teeth and jaw areas.
Look at P-1. The patterns of shadow emphasize the underlying structures
of this portrait. The eyes are enveloped by the lids; the socket
area is defined by the brow and the nose. Visually examine the areas
between the nose and lips; the chin and the neck and the jaw and the ear.
Through touch and observation continue to examine your own form.
This is an excellent while examining out own features through touch.
Carefully examine the brow area? How far does your brow project over
your eye socket area? This is an excellent exercise. Try to visually
(and through touch, if possible) examine as many individuals of varying
ages, weights, etc, as is possible. P-2 (coming
soon)is a planar analysis self-portrait by Sean P. Gallagher titled
Interior.Gallagher
provides a strong structural awareness in a portrait that not only records
the externals but also (279) "reveals inner aspects of personality....".
Return to A Guide to Drawing.
FA 76 Drawing I
Portraits
The Figure
Perspective
FA 76 Drawing I Prof. Adrienne Kernan La Vallée Fall 1999
WELCOME! Drawing is a studio course. Emphasis is placed on an empirical approach to learning--so you will draw--draw--draw--! We will cover the basic principles of composition, line, value, form and linear perspective. For most assignments you will draw from observation utilizing objects and people (nude and clothed / women and men) as models.
Text: A Guide To Drawing by Daniel M. Mendelowitz and Duane A. Wakeham
Attendance and participation are mandatory. Drawing meets once a week --- if you miss a class you have missed an entire week. If you are absent three or more of the scheduled class times you will be unable to earn a grade higher than a “C” REGARDLESS of the quality of your work or examination grades. *
Readings and Homework should be completed on time to enable you to participate in the class. You are required to keep a sketch book/journal filled with observational drawings ON YOUR OWN as well as the regularly assigned sketchbook projects. Each week you should make a few entries that reflect readings and class work.
Date All sketchbook work!Any excuses for late homework must be discussed with Prof. LaVallée in advance of the due date. If you are absent, your homework remains due and must be submitted no later than two days beyond the due date. It is up to you to arrange for the delivery of the assignment and it is up to you to pick up assignments and handouts.
40% of grade Midterm Exam + Final Project averaged
20% of grade Class participation - Attendance, HOWEVER *
40% of grade The quality of your work and the timeliness of the submission.
If you have questions or problems please do not hesitate to call for an appointment or take a chance, drop-in. Throughout the semester, at a time convenient to you and me, I will schedule individual tutorials for linear perspective and other dilemmas.
