Research point
monotype
Eleanor Moreton,
English born 1956
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figures 1-3
Elenor Moreton's is work informed by wide-ranging research and a passion for developing new skills. From human beasts to frightening events, family and home to sexuality and folklore, are all influences.
She cares about the position of women in society and celebrates their creativity.
Karen Kilimnik has inspired her, and I can see the use of colour and imagination reflected in Moretons paintings.
Elenor Moreton works are visceral to me; by that, I mean they evoke different feelings for different people.
I really enjoy her use of directional loose visible brush strokes, and in Absent friends, my favourites of all her works, there seems to be emotion pouring from the canvas.
Absent Friends aren't monotypes, but they show the loose, diluted application of paint to achieve ghostly marks with visible directional brush strokes. The negative areas without paint, for example, the musical instrument strap/parts of the face in Gillian or the hairline/face in Young Rebecca, are as important as the sweeping directional gestural marks. These pieces are haunting and have that uncanny, eerie feeling which is mesmerising. The pictures are also sensitive, layered and muted in colour, unlike her other work. I find the variation of marking interesting too some like drawing, some dripped and some streaked or smeared which all hold my gaze.
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"In her ongoing series, 'Absent Friends, ' Moreton paints portraits of women who have inspired her. Singers Gillian Welch and Nina Simone and writer Rebecca West all feature women who are celebrated primarily for their creativity rather than their bodies or fashion sense. Moreton builds each portrait using thin washes of oil, working on unprimed wood to enable the paint to be absorbed by the panel, so it physically occupies the ground. Concurrently, Moreton has also been exploring mythologies, rituals and manifestations of love, reworking Pre-Raphaelite paintings of Victorian morality, as well as exploring British folklore. In her most recent series, she looked at the tension in mythology between the spiritual and the animal, for example, in The Love of Beasts (3) (2014). A Bacchanalian faun seems to have discovered Madame de Pompadour (by way of Fragonard), who is hiding in a glade of foliage that doubles up as a riot of abstract marks. Moreton works from photographs and historic paintings, exploring the relationship between her subject matter, the imagery she has purposefully sourced and sought out and the materiality of paint itself."
(Mullins, 2015)
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yuko nasu
Japanese born 1974
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figures 4-10
Artist Statement
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"I am interested in faces because they surround me. Every day is full of faces. I am currently interested in drawing someone no one knows. To draw someone we don't know, someone who might be.. who might be, someone special. This is my interest. Imaginary Portraits."
Yuko Nasu.
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I liked this interest in painting the face of someone whom no one knows because that would possibly remind the viewer of someone they did know. The subjective nature of the unknown viewed subjects, in some of her artworks, are called 'Imaginary Portraits'
Nasu paints anonymous people in these portraits, to explore how images or narratives affect and influence us. Some portraits are of those subjects which have had an emotional effect on her, some are famous and some imaginary.
Her brushstrokes are quite wild, smeared and swirled, with unique colour combinations. Almost as if she wants to remove the features of the face, Nasu, leaves the trace of say, an eye or mouth, just letting you recognise just enough though. Sinister and eerie portraits and I like them very much.
Why?
Because they are unusual, different, thought-provoking and there is underlying energy in them.
What made Nasu paint vivid pink cheeks, ring-shaped eyes or choose crimson red and cream swirls or slash marks for any of those facial features?
When I look in detail I see that the background is laid down initially, but is the paint diluted and applied with a sweeping stroke wet in wet or layered?
Does she apply the paint on the support and then brush with a circular motion or apply a small area of colour with a flat circular motion then over layer?
I think the only way to discover this, is to experiment and try to replicate some of these marks.
When I compare Francis Bacons work I can see a similar use of bright colour with a swish or swirl of the bizarre brush stroke to add mystery. When I compare Marlene Dumas work I can see similarities with blurs, bleeds and drips and sensitive elements.
The marriage of colour combinations, unconventional features and creative mark-making has a striking effect on me. As I mentioned earlier, I would like to try and emulate some of the marks and colour choices and experiment with them in my work. I have emailed the artist and asked for more information on her process. I used Google translate for a Japanese version of my enquiry, my thinking was I may increase my chances of a reply. Fingers crossed I get a reply.
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I was so happy to receive an email reply. It includes;
"Speaking of my work, yes I do use photos, mainly photos in newspapers or magazines in my daily life. (Evening Standard, HELLO, Heat etc)
When I was in the UK, there were so many unfamiliar faces in the media for me since I was a foreigner and that experience influenced my work, I guess.
About the colour..mostly, it depends on my mood. I can choose the colour when I look at the photos carefully.
I felt it was very interesting and funny that the news was horrific but the pictures used for the newspapers are brightly coloured (especially if children were the victims. like, Baby P?.)
So I used bright colours when I depicted some people of horrific news, not always though. Big smile used for terrible news....the contrast was intriguing.
Best Wishes,
Yuko"
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This email made me reflect on colour and how it is used. It also makes me more aware of using my experiences in my work as this can fuel my imagination.
Kim edwards
english born 1955
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figures 11-13
Artist Statement on Printmaking - Relief & Intaglio:
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"In 2007 & 08 I attended printmaking courses tutored by Peter Wray RE & Moira McTague respectively. Stimulated by this experience I bought a small Rollaco etching press so that I could continue building on the experience and trying out different printmaking methods".
Kim Edwards.
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Kim Edward's monotypes/prints are moody and atmospheric scenes, I can feel myself walking in her landscapes with the wind on my face. Her figures walking in the landscapes are silhouettes in motion, casting shadows, but only just. They are familiar pieces, most of us have seen these landscapes and watched these people on the beach, I think these are direct observations from memory or photographs.
The palettes are earthy and evoke the storm, rain and breeze of the outdoors.
She creates movement or direction with her use of dilution, colour and with varied curved and sweeping strokes.
I can see varied pressure and the use of thin and wide brushes to create these monotypes. I am unsure of the media, my instinct tells me that oils have been used, Edward's website has no information other than she uses varied media in all her works.
The Old Hare is a trace monotype, it is oil-based ink on paper and reminds me of Giacometti's linework. The hare is in a seated position and the linework is a contour of the animal's form. This shows me that simplicity works. I want to say it looks like a wire coat hanger moulded into a hare as the picture seems to create a 3D quality. Simple but effective.
Her work could underpin my colour palette choices and the use of a more limited palette, perhaps?
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Kim Baker
english born
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figures 14-19
My O.C.A brief says;
"Kim Baker uses very diluted oil paint on canvas, board and paper. She creates dark backgrounds and works onto them with lighter paint. This is something you might like to try when creating your monotypes." (Dover, 2015:66)
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Although I found this statement correct, it's not always the case; in her achieved works, there are a few pieces of work, for example, Memento Mori, where Baker covers the dark background entirely with ochres and orange blends. Other pieces leave the background as a contrast to the bright colours swirls of paint. In my humble opinion, Memento Mori is a masterpiece of 'remember you must die' related to the vanitas still life I studied in previous courses, but this is a contemporary version. Finally, I note that Baker was chosen to be included in the book Nature Morte, Contemporary artists reinvigorate the Still-Life tradition by Michael Petry published by Thames and Hudson.
Baker’s flora, fauna, landscapes, and still-life tradition are inspired by art historical significance, incorporating 17th century Dutch still life techniques.
Some parts of her work remind me of Caravaggio's light and dark treatment. Some parts of the swirled swept, rhythmic marks give an abstract expressionist sense, De Kooning perhaps? I am also reminded of the gestural and layering technique of Yuko Nasu in places. Another contemporary artist, Miranda Boulton, recently won Jackson's art prize, whom I have been following on Instagram. Although Boultons work seems to have a more edgy textural feel, I can see lots of similarities in the use of the materiality of the paint and how it conveys the floral subjects.
Overall, Baker's work has such an energy, and I feel inspired by her use of large looping marks, encircling and coiling to create 3D space on the surface. Baker takes me on an emotional rollercoaster with blends and bleeds of petals, natures landscape, and she is definitely one of my favourites so far.
I can use these gestural marks to create a sense of energy in my portraits; hair and background might be possibilities.
David Bomberg
British born 1890
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figures 20-22
David Bomberg did not excite me initially. Researching further and reading ;
Curving Round: David Sylvester and the ‘Rediscovery’ of David Bomberg
I became curious about how Bomberg's artistic journey had been so difficult during his life and how politics and critical opinions had affected his complex relationship with British Art.
I noted that Bomberg had taught Frank Auberach, and when I initially saw Bomberg's Self Portrait, I thought of Auberach. Why? Because of the thick, dense textured, layered paint. Not a 'proper portrait' but an expression. The feel is heavy and almost tacky. The form has some highlights and the interpretation of shadow, but the self-portrait piece has many directional brushstrokes bringing what would otherwise be a dull scene to life.
Most of Bomberg's work is so different in style, and the earlier works are mostly landscapes and geometrics, which do not hold my attention, although I admire his craftsmanship.
The Tate says of Bomberg's portrait work;
"The portraits were all made using a large mirror in which the artist scrutinised his features from various angles. In his honest scrutiny of himself as a balding introverted character, Bomberg’s work of this period recalls Rembrandt’s great series of searching self-portraits made three hundred years earlier.
Gallery label, August 2004.
I can see the angst in the self-portrait because of the colour palette and application. I note that I have to use a mirror for the ink studies at the start of this course, and therefore using some different angles might assist me.
In the Lillian pieces I have selected, there are more angular and vigorous brushstrokes. I can see warmth and passion in the palette. Is this because of the love he has of the subject, his wife?
I also really like the fact he has painted his wife as a working artist rather than the subject, he seemed to be ahead of his time, and I think this was why he had such a difficult quest in the art world. I'm sure I will be revisiting Bomberg on my journey as he has some intriguing works."(Hallman 2014:Tatepapers 21).
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The revisiting mentioned was sooner than I expected. I was fortunate enough to physically see Bomberg's Self Portrait (David) 1937 at Banbury Museum and Art Gallery this week.
In my notebook during my gallery visit, I wrote that Bomberg's work was warm and inviting, the red hues powerful and complemented by deep forest greens. I may, however, have misread the colour palette as the plaque accompanying the portrait states Bomberg had just fled Spain because of the Spanish civil war when this picture was painted.
The scarlet and crimson hues may be blood, pain and in the background, can I see vague shadows of figures?
Is the dark grey/green line to the portrait right-hand side a division or split in his life?
Certainly heavy in its appearance, Self Portrait (David) seems to have underlying geometrics that he has pulled smeared or abstracted. Nevertheless, the piece has the strength to evoke the emotion of survival, which I'm not sure makes sense, but that's how I feel having researched Bomberg's life.
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figure 23
David Bomberg
Self Portrait (David) 1937
Diego Velásquez
Spanish born 1599
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figures 24-25
Diego Velasquez was one of the most important painters of the Spanish Golden Age because of his authentic and individualistic approach to portraiture. Yes, he was one of the great masters of chiaroscuro but it was the authentic everyday life he depicted that stood him apart from other painters. At the time his use of subtle harmonies within his pallette and the diverse brushstrokes created light, harmony, space and that glorious light!
It's only when I look very closely at his work I can see free and loose brushstrokes and gradients of light. In Christ in the House of Martha and Mary the folds of the material, the hair and the stitching on the clothing is sensitive. You can only see this on closer inspection and the National Gallery's website allowed me to view this by zooming in. When you saw this painting initially you wouldn't have seen this because the marriage of realistic and loose work would be difficult to distinguish.
I can use this technique over realism if I so desire. I feel more drawn to the mark-making of the abstract expressionists though, less subtle and more of a powerful impact.
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Edouard manet
French-born 1832
Watching the above video gave me a reminder of one of the great masters whom I had researched before. My research seems to become more in-depth when I revisit each artist. I learn to see the artwork with fresh eyes and closer inspection reveal more about approach process content and form.
Manets use of light is genius. He creates calm and stillness without losing intrigue. His works are classy, sensitive and he often depicts the human subjects in action, playing an instrument, blowing bubbles, painting or bathing for example. Therefore his compositions were fresh and a far reach from the posed and stiff paintings artists had painted earlier.
The portraits he paints are expressive, so much so, as if he had taken a photograph and painted what he saw, at that moment, his expression of modern life at that time. The pieces do not seem posed to me they seem to be natural if that makes sense, more individual and characterful.
Manet was another painter who was unloved by the critics initially, does this have a positive effect on the artists I wonder? Are they more determined? He is known as the founder of Expressionism and using rapidly broken strokes. Although he broke away from the Expressionist group we still see the light reflection and that style, in some of his Plein air looking scenes. With further research, Manet did not paint outside and although some of the rushed rapid strokes make it seem as if he did often the paintings would take quite some time and over-layering. Licks of wet in wet paint and wild sketchy strokes of the brush made up portraits that are full of vitality.
His portraits and depictions of recognisable faces in chaotic group portraits (sometimes even painting himself in his work) I feel were carefully planned even though it seems that were not. Later with his use of pastels and with quick whispy and blurred use of the media, his portraits become more untidy and Manet leaves the canvas untouched in places to add an overall dimension to his work. Could exposed paper in my monotypes with an overlayer of pastel be a good concept for me to experiment with?
Manet erased his marks a lot, started again, revised and reflected. This is something I can understand and empathise with. Using false ground over some parts of his work he layered over and made his strokes look effortless, this is a surprise and brings me confidence. Again Manet will be a source of future research to underpin my skillset and development.
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Harry Pye
english born 1970
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figures 26-28
Harry Pye started creating art later in life. Inspired by Philip Gustan, Pye's work is fun and depicts his life experiences. The titles are explanatory and humorous, and I like that about them. There is a simplicity to work, a childlike quality produced by using flat matt layers of blocked acrylic paint, but not always. I can see blends and the use of diluted media in some pieces on one of his websites.
Pye seems to copy or include other famous artists in his work. Pye paints a nod to Mondrian or Van Gogh and text plays a part in some pieces, leading the viewer to combine with the title, to conjure up the narrative he is trying to communicate. His drawings are simplistic, delightful and not complicated if that makes sense. In many of his drawings, he has used a felt tip pen and directional line to 'colour in' between the lines. This is quite refreshing and in a way and takes me back to being a child.
My tutor recommended this artist, and I think I am being reminded of variety i.e. using flat block paint that can contrast with other mark-making in my work and also the narrative in the artwork. Also of interest is that Pye's work is sometimes accompanied by music. This is something important to me whilst I work and affects mood or colour choice, which need to be considered whilst I work or even present my work. Pye's work is also linear and I think trace monotype would produce this effect with possible overpainting to strengthen them.
I would like to see the pieces first hand as I expect they would excite and inspire with their bright and playful compositions.
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Dexter dalwood
British born 1960
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figures 29-34
What I notice about Dexter Dalwood's works initially are that they are mostly figureless. Previously researching him, now was the time to deepen my studies. He paints what seems to be code, for you to decipher, a place he has read about described in a book or an idea in history.
The pieces I have selected above are all interiors and I believe will be more useful for the next part of the course. Dalwood's mind was where I wanted to base my research on this part of the journey, though.
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In the video What is Really Happening? Dalwood talks about non-places, places that you reflect and contemplate in. Having travelled, I can relate to what he is saying, the places where you stare into space and think. For me also, it has been the backs of airline seats (whilst resting on long haul flights without bunk areas) and that gaze into nothing, the thinking and reflecting 'state'. The hum of an aircraft or the engine noises, the travel to and from the airport, are the sounds and feelings that I can relate to.
I think what he says about an image and presenting it isn't necessarily about what is happening internally for the painter is really interesting. I want to emulate his thoughts in this part of the course within the context of monotype. I used Dawood to influence my Practice of Painting module and the aircraft windows he has painted in the works I have selected above. The angles and viewpoints, colour palettes and narratives are exciting for me as a painter.
In Hard, Dalwood paints the interior of a car, the luminosity of the dashboard against the flat backdrop of the rain outside makes the viewer feel as if they are in that car, sat watching the pouring rain. We have all been there, in that car, in the rain. The rearview mirror is painted with horizontal smears of pink and grey paint; it feels like the exterior is just that, grey and smeared. Yet, the interior feels inviting and safe, a place of hard plastics and technology but with the use of light and Dalwood's blending techniques, it is silky smooth.
I want to develop the feelings Dalwood creates in his work, but this module through my portrait gazes. It will be challenging, but I need to take risks now.
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References- bibliography/images
Moreton, E. (2021). From "Picturing People' by Charlotte Mullins, Thames and Hudson, 2015 At: http://www.eleanormoreton.co.uk/from-picturing-people2021.(Accessed:1 June 2021)
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Elliott, M.. Re; Student enquiry (Email sent to Nasu, Y.16/06/2021 15:01)
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Hallman, L. ‘Curving Round: David Sylvester and the ‘Rediscovery’ of David Bomberg’, in Tate Papers, no.21, Spring 2014, https://www.tate.org.uk/research/publications/tate-papers/21/curving-round-david-sylvester-and-the-rediscovery-of-david-bomberg, accessed 30 June 2021.
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Figures 1-3 Moreton, E. (2021). At: http://www.eleanormoreton.co.uk/absent-friends-1 (Accessed: 1 June 2021).
Figures 4-10 Nasu, Y. Imaginary Portrait (2021). At: https://www.imaginaryportrait.com/ (Accessed: 10 June 2021).
Figures 11-13 Edwards, K. (2021) Figure walking away from me, Walking Dulwich beach, The Old Hare At: https://www.kimedwardsartist.com/gallery_686792.html (Accessed: 17 June 2021).
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Figures 14-19 Baker, K. (2021). At: https://kimbaker.co.uk/work-1 (Accessed: 19 June 2021).
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Figures 20-22 Bomberg, D. (2021). At: https://www.tate.org.uk/art/artists/david-bomberg-777 (Accessed: 19 June 2021).
Figure 23 Elliott, M. (2021) Self Portrait (David) Oil on Canvas (Photograph) in possession of the author; Banbury.
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Figures 24-25 Velazquez, D. The National Gallery, London (2021) At: https://www.nationalgallery.org.uk/paintings/diego-velazquez-the-toilet-of-venus-the-rokeby-venus (Accessed: 19 June 2021).
Figures 26-28 Pye, H. (2021). At: http://www.harrypye.com/ (Accessed: 19 June 2021).
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Figures 29- 34 Dalwood, D. (2021) Laid Out, Fire in a Limo, Hard, Hard 2, Snow Screen, Lufthansa At: https://www.simonleegallery.com/artists/dexter-dalwood/ (Accessed 17/07/2021).
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