We are asked come look at five or six self portraits the appeal, with a vast time span and also a range of techniques, and to compare these with portraits that the same sitter by other artists.
You are watching: Self-portrait in a striped t-shirt
Sir Anthony valve Dyck 1599-1641 final Self Portrait. Ns went to view this me portrait at the nationwide Portrait Gallery. I determined him due to the fact that he to be the first in brother to carry a sense of movement and also naturalness into portraiture generally, i m sorry up until then had been lacking – numbers were presented rigid and also full-frontal, together I observed in the rooms relating to previously times. His paintings had actually a sense of perspective and space, graceful liquid poses In this self portrait over there is broad, confident, scan brushwork – standing nearby you’re aware of the brushwork. The expressiveness in the challenge makes him instantly recognisable as a human who could be that our own days – before Van Dyck the face had to be painted together an expressionless mask, the trappings of wealth and also power more important than the character. The face and hair room very carefully painted – you can’t watch the brush-strokes here. The right arm is organized at an angle that suggests the artist in ~ work. The costume is painted quickly and broadly v a dried brush, vigorous and also informal way, and is striking v the sample of white slashes on black. He’s looking the end of be snapshot at the viewer really strongly it provides a feeling of an individual who really existed and is connecting with us today
Matisse’s(1869-1954) self portrait in a striped shirt (1906) is one of only a couple of that he did. He stares straight at us in a daunting way. Maybe he’s daring us to question the rapid, rough brushstrokes and his choice of high soot green and turquoise because that the face. We can deduce the irradiate is indigenous the right, highlighting the neck, ear and also the next of the head v a pink tint. The shadow locations of the eye sockets modulate with raw umber come a depth brown. Ns wonder why the left next of the challenge is no painted darker – is over there a second, weaker source of irradiate from the left? What climate does the green challenge signify? possibly the reflected light from his surroundings, explicate the as whole ambience, but also by using green to comparison the face with its safety hue, the red of the hair and also beard, that part of the face becomes a solid focal point, and also is carried forward in the photo plane.
The background, which appears to be approximately painted on come a muted midtone background, is composed of the colours in the face, separated into their constituent hues. The stripes the the shirt choose up every the exact same colours, through the addition of a bright red stripe bringing the ideal shoulder forward into the foreground. He’s offered another maker to emphasize this, which is to make the the strongest tonal contrast along the line of the light coloured appropriate shoulder, by darkening the lift immediately adjacent to it.
So this me portrait is a tour de force displaying Matisse’s ability with colour, showing exactly how it have the right to be used unconventionally to develop pictoral harmony, and a feeling of type and depth.
Now ns looked at a 1905 portrait that Matisse through Derain.
It’s clearly the very same person, however painted in a warmer light, mirroring Matisse as much more relaxed and also confident. A solid under painting in heat is evident, especially roughly the neckline the the shirt, and also the pipe. The flat grey assistance can also be watched here, and between the quick dabs the paint comprising the beard, and also in the ‘white’ the the appropriate eye. The lift by comparison to the head is painted using long, vertical, blended brushstrokes, if the an approach used because that the shirt is what in in between the 2 approaches. In this means I think Derain has actually created an ext detail, texture and therefore focus on the head.
Colours are provided tonally ; yellow, pink and also red to comparison light against blue, brow and black depicting shade. By picking colours closely according to how they said to every other, the volume that the head appears realistic.
I’ve assimilated mine research into these 2 portraits right into my very own painting because that the self portrait exercise. I discovered it enjoyable and also expressive to paint as extensively as this, but it’s not as easy to develop a convincing portrait together Matisse and Derain do it look!
Alberto Giacometti, 1901-66. Self portrait around 1923 – oil top top canvas on wood. I checked out the present exhibition of his occupational at the nationwide Portrait Gallery, and saw three self portraits, drawings and a painting. This is an early work through Giacometti, made before he turned come his later abstract-figurative style. It’s fairly traditionally representative, but already you have the right to see the search for line and also mark, revealing the process by which the made the work. The jacket for instance is black, or grey, but on closer investigate is made up of a rainbow of coloured marks; if the face is written of ochre, turquoise and also pink brush marks, unblended, revealing the airplane of the face and also the means light drops on the head. The head comprises a small part of the totality painting; ns like how the artist has left no edge of the canvas untouched in make his ingredient – there is a substantial amount of attention to engage the eye – but theirs does distract from the sitter, who disappears somewhat right into his surroundings. I choose the figure of the arm, the brushes and also the easel framing the composition at the bottom. He portrays himself together a significant young man, will on boosting his art.
His later on portraits are frequently drawings and also the painting listed below has the emotion of drawing, with prolific mark-making, and an emphasis on line. In this portrait that Giacometti by modern artist Pierluigi Romami, the colours are incidental, the paint being readable completely in tone. The format is really appealing to me – ns love to draw by scribbling, experimenting outlines, put marks till the kind I recognise together being ‘right’ emerges by itself. This is just how I feeling Giacometti produces his drawings, through extraneous marks and also lines giving his images movement, life and also presence. I love the usage of black and also white, with a small bit that tonal colour included – like adding faint watercolour washes come a sketch. I haven’t to be able to uncover out what media was used here; it could be an under paint in acrylics (blue and also yellowish environment-friendly in the background; the face in flesh colors using the blue, yellow-green and additionally red) through charcoal and white pastel marks added. The hair has actually an impressive tough, wiry texture. That has completed a really appealing expression – kind, benign.
Kathe Kollwitz 1867-1945 – this me portrait is painted through a white tool (chalk, pastel?) of varying opacity, leave the mid tone ground to define the majority of the form. There is most detail and also contrast in the face and also hands, drawing our eye to these parts. Charcoal is offered to give simple an interpretation to the folds of her clothes. She has accomplished an tremendous amount the expression with very simple, economic means.
Jenny Savile‘s paints are huge – or in ~ least, she portrays her topics as vast, using unusual viewpoints and also perspective to exaggeration their size. This self portrait (Reverse, 2003) shows a zoomed in image of her own face, lying under on a reflective surface. It’s a strange pose; she’s no resting; the lips are slack and they sag through the meat of she cheek with an ext than the gentle force of gravity. At first I believed she to be lying on she front, then examining the heat of the neck and shoulder ns realised she’s lie on her back. With her skin sweaty and also suffused v blood, eye blank, head twisted, lips apart and wet, this deserve to only be photo of a woman having sex. I’m left to ponder the circumstances and her feelings, yet it’s a disturbing, powerful, life image.
Jenny Savile has been described as the inheritor of Lucian Freud‘s banner. Right here is his portrait of Frank Auerbach. Ns can absolutely see similarities in between these two. In both, the topic is missing from and also unaware the the viewer – contrasted to the van Dyck self portrait, i beg your pardon is speak to us, these two room firmly preoccupied through their own concerns. Both are extremely painterly, through which I mean that there is a broad, unblended usage of the paint, bring about an unrealistic however highly descriptive portrayal the the flesh. Both portraits have actually a compelling feeling of the volume and also weight that the head, the roundness the form. Savile’s me portrait speak to me more of a genuine live flesh and blood, sweat and also saliva person! The structure of the Freud portrait is hard, dry, as though make of some not natural material. I’ve lately been sketching the head from various angles, trying to understand its structure and proportions, and also this, an ext than any of the foregoing, except perhaps the van Dyke, seems to me the most solid, realistic, three-dimensional, convincingly drawn and proportioned head.
Finally, Auerbach’s self-portrait.
Auerbach is claimed to repaint portraits not to convey a likeness yet an experience, one emotional response to his subject. I had no principle of what this meant, or endure of drawing in this way, till I to visit Jim Unsworth’s big Draw occasion at his studio a pair of main ago. There us were motivated to draw (big, fast and messy, through buckets the water and paint, and also clumps the charcoal on the finish of a four foot stick)) our experience, feelings, thoughts, emotions, around the topic – whether it was a beautiful greyhound, a climbed briar, a clump the hanging creepers, or the endure of the entirety day native memory. The procedure was releasing and fun; the results were a revelation to every one of us, few of them fairly appealing as expressive drawings. At the same time I newly read a stream of publicly responses on facebook to both one Auerbach portrait and to my drawings made in ~ the big Draw; lock were likewise bewildered and, in the case of the Auerbach, overwhelmingly unappreciative; in my situation the comments were unusually sparse – by which I understand my normal ‘like’ club were simply mystified at best or were as well polite come say what castle thought!
To me all arts is about communication – that writes poetry, provides music, renders art purely for themselves and a narrow team of like-minded colleagues? ns aspire come convey mine thoughts and feelings come a broader group, and also so in ~ this at an early stage stage in mine art education I quiet cling to forms of painting and drawing the are much more accessible and also appealing – which way representational, and with evidence of skill discernible by the lay-person. No doubt I’ll ‘get over it’ later in mine OCA career!
http://www.atkinsongrimshaw.org/painting-kathe%20kollwitz-sjalvportratt-70113.htm Accessed 16 Oct 2015.
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http://www.theguardian.com/artanddesign/gallery/2012/jun/10/jenny-saville-paintings-oxford-solo-show#img-11 Accessed 16 Oct 2015.