Project 3
Bargaining
Size: 60.96 cm x 30.48 cm Medium: Watercolor on Canvas Date: October, 2018 This piece represents the third stage of the grieving process - bargaining. Inspired by artist Matthias Stom, this piece depicts a self-portrait that prays to a higher power above, which demonstrates the need to bargain with God in an attempt to avoid and cope with the reality of death. |
Critical Investigation
For this piece I knew I wanted to use watercolor because I have never used it before and wanted to expand into other mediums. However, I was sort of stumped on how to depict me in the bargaining stage. I did some research and found a lot of religious pieces that depicted people praying. I further researched classic religious paintings and came across Old Woman Praying by Matthias Stom, this immediately inspired me to paint myself praying in order to depict the bargaining stage. During this stage I often found myself trying to make deals with either the deceased or some sort of higher power to make the reality less harsh, but these deals were only a part of the process and could never actually come true. In order to depict this melancholic stage I thought that a dramatic painting style would help portray this emotional stage. Stom specialized in the dramatic Caravaggesque style creates an exaggerated contrast of light and shadow. Stom had a leathery element to his subjects faces, where these subjects were often elderly characters. I decided I wanted to have a similar Caravaggesque style that included an exaggerated use of value and color. In addition to this, I knew I would use balance similarly, in which I would use a similar body position where the praying hands created an asymmetrical balance. Once I had this idea figured out, I wasn’t sure what to do about the background. I began researching water color paintings of nature to get an idea of how I could use watercolor to create a background similar to a sky with a sun shining through. I wanted to paint a background similar to a sky because I wanted to mimic or imply how I was trying to communicate with my relative or a higher power. I knew that most easy way to communicate this would be to paint a light shining down on me through a dark sky or background. I then found the painting Riding the Waves - Adirondacks by Sarah Yeoman, which inspired how I would paint the background. Sarah Yeoman Sarah describes her artistic process as “sculpting and pulling the form out of the paper.” Formed by shadow and light and minimized detail, she depicts how she sees the world. She uses color shifts, and granulation to reveal the warm feeling of light and light air. I then knew that I would use color and value and minimized detail to create a contrast between the sky and the light shining down on my face to communicate a higher power.
Process
1. Planning/Sketching
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After doing research and formulating my ideas, I then had to sketch it out. I began by sketching myself praying, and decided I definitely wanted this to be the position I painted myself in. I then played around with different backgrounds that created light differently. I began with a sun to create the light, but I decided against this because it was too literal and I wanted there to be a mysterious light where the source wasn't clear. I thought this would help communicate that there was a higher power I was trying to communicate with.
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2. Build Canvas
Next, I had to build my canvas. I did this by first putting the frame together, and stapling where they meet together with a staple gun to ensure that it would stay and keep its shape. Then, I took a roll of canvas and spread it onto the floor. I placed my frame on top, and cut out a square of canvas with about 6 inches away from the frame. I then folded over the canvas over each side of the frame one at a time, and making sure never to pull the canvas tight. On each side, I stapled the canvas about 8 times to the frame.
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3. Apply Gesso & Watercolor Ground
Next, I had to prime my canvas by applying gesso. This is a very important step as it helps preserve the paint, and it must be done right otherwise it can warp the canvas. Therefore, when I applied gesso I made sure to apply it evenly in one session. I also had to make sure to gesso the sides of the canvas, and to let it dry in a safe place where nothing would poke it or anything. In addition to this, I had to apply watercolor ground since I wasn't using watercolor paper. Watercolor ground makes the canvas more absorbent. After applying the ground, I had to let it cure for at least 24 hours.
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4. Sketch on Canvas
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I then had to somehow accurately sketch out my portrait onto my canvas. I did this by taking the photo I wanted to paint, and putting it full-screen onto a laptop. This way, I was able to connect a projector to the laptop and project this photograph onto the canvas. Then, I simply traced the image that was projected.
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5. Painting
This was the most time-consuming and challenging stage. I immediately noticed the difference when using watercolor, which made it easier and yet also very challenging. What made it more challenging was how it needed to be painted in layers otherwise the paint would just run into each other rather than blend, making it look splotchy. It was necessary for each layer to dry before putting another layer because then there would be too much water and it would make the paint lift. Also it was hard to bring highlights back because the paint was basically transparent, it was easier to only make the painting darker. This was frustrating at times, but I simply just had to be patient and let it dry. This was something I wasn't used to because I'm use to oil paint which can tolerate several layers without needing to dry.
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For my painting process I began with a pink under tone, for this I used crimson red and thinned it out in areas to made pink. After letting this dry I began to add skin tones, which included burnt umber, peach, and titanium white. I used a combination of ratios or the pure color itself to use as skin tones. I painted alongside a photo of myself to make sure I was correctly painting the shadows and highlights.
Experimentation
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Before I began my final piece I wanted to have some practice with watercolor since I have never used it before. I used a smaller 8''x 11'' canvas and drew a small carbon copy of the photo I'd use for my final. I began with the background to get a better idea of how I'd paint the background for my final piece. This is where I experimented with a "watercolor" texture. This is where I basically used a large amount of water on the brush to allow the paint to run down the canvas, which was a texture I liked and did later use in the background of my final piece. I then began to paint my face, using a similar process I explained in my painting process. Once I felt confident enough with using watercolor, I began my final piece without finishing this small piece because it only really served as a practice piece.
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Reflection
Overall, I'm satisfied with my final piece. However, it's not exactly how I wanted it to look and I think this is because I used canvas rather than watercolor paper. This choice made it look like a typical painting in which it looks like I used acrylic and not watercolor. I think I used color successfully to communicate sadness and death, in which I made sure to paint my shirt black to symbolize death and create the allusion to funerals. In addition, the deep blue sky and my facial expression symbolizes my despondent emotions about the circumstances. I feel like due to my choice of hues and my facial expression and pose within the piece effectively evokes this mood of despondency and bargaining. Furthermore, I'm very proud and satisfied with my blending throughout the piece especially since I've never used watercolor until this project. I also like how I create movement and unity by the use of certain hues.
My piece relates to Old Woman Praying by Matthias Stom, this inspired the Caravaggesque style I used which exaggerated a contrast of value and color. In addition, Stom inspired how I would use balance similarly by using a similar body position where the praying hands created an asymmetrical balance. Riding the Waves - Adirondacks by Sarah Yeoman inspired how I painted the background. This inspired a similar use color and value and minimized detail to create a contrast between the sky and the light shining down on my face to communicate a higher power.
My piece relates to Old Woman Praying by Matthias Stom, this inspired the Caravaggesque style I used which exaggerated a contrast of value and color. In addition, Stom inspired how I would use balance similarly by using a similar body position where the praying hands created an asymmetrical balance. Riding the Waves - Adirondacks by Sarah Yeoman inspired how I painted the background. This inspired a similar use color and value and minimized detail to create a contrast between the sky and the light shining down on my face to communicate a higher power.
Connecting to the ACT
1. Clearly explain how you are able to identify the cause-effect relationship between your inspiration and its effect upon your artwork.
Old Woman Praying by Matthias Stom inspired the Caravaggesque style I used which exaggerated a contrast of value, color and balance. Riding the Waves - Adirondacks by Sarah Yeoman inspired a similar use color and value and minimized detail to create a contrast between the sky and the light shining down on my face to communicate a higher power.
2. What is the overall approach (point of view) the author (from your research) has regarding the topic of your inspiration?
Stom often painted elderly people with a Caravaggesque style in order to create a dramatic mood and theme. Whereas Yeoman did the opposite, she painted in order to depict nature through her perspective.
3. What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
By looking at two artists from completely contrasting eras, I can generalize that the culture during Stom's time was more serious, religious, and traditional as this was reflected in the art during that time. Whereas Yeoman shows how the present is quite liberal and comfortable with the opposite.
4. What was the central idea or theme around your inspirational research?
This piece represents the third stage of the grieving process - bargaining. It depicts a self-portrait that prays to a higher power above, which demonstrates the need to bargain with God in an attempt to avoid and cope with the reality of death.
5. What kind of inferences (conclusions reached on the basis of evidence and reasoning) did you make while reading your research?
I can infer that the culture during Stom's time was more serious, religious, and traditional as this was reflected in the art during that time. Whereas Yeoman shows how the present is less traditional and more comfortable with the abstract.
Bibliography
“Riding The Waves-Adirondacks", "About.” Sarahyeoman.com, sarahyeoman.com/workszoom/2370575, https://sarahyeoman.com/about.
The Met's Heilbrunn Timeline of Art History, www.metmuseum.org/art/collection/search/437757.
“How to Use a Canvas for Watercolor Painting: It's All About Priming.” Artists Network, 29 Sept. 2018, www.artistsnetwork.com/art-mediums/watercolor/can-you-use-a-canvas-for-watercolor-painting-tips/.
The Met's Heilbrunn Timeline of Art History, www.metmuseum.org/art/collection/search/437757.
“How to Use a Canvas for Watercolor Painting: It's All About Priming.” Artists Network, 29 Sept. 2018, www.artistsnetwork.com/art-mediums/watercolor/can-you-use-a-canvas-for-watercolor-painting-tips/.