portrait - masterstudies, skin color and pastel technique
TRANSCRIPT
Portrait Master Studies
Glenn Hirsch
mater studies are a a ‘dialog’ with the past
Titian
Gauguin
Manet
Ramos
Master studies are a way to learn about style
after you do a studyyou respond with your own work
MichelangeloInspired by Michelangelo (Angela Pryor )
Student response
to Leonardo
Amadeo Modigliani
Diego Rivera
Max Beckmann
Alexei Jawlensky
try on a different
hat
(Student study of David Park)
(Student study of Maurice Quentin de Latour)
confront an
artist ancestor
(Student study of Kathe Kollwitz)
gain confidence
from a master
(Student study of Johannes Vermeer)
Study of Delacroix Kat Mergens
Study of Egon Schiele
Catherine Kreil
study of Picasso
Study of Max Beckmann Aaron Dowell
Study of Van GoghBecke Aller
study of Gauguin
(study of Paul Gauguin
study of Orozco
study of Lucien Freud
Study of Modigliani
Skin Color
Skin color depends on light
Skin color depends on genes
Skin color depends
on a great variety
of browns and pinks
Lucian Freud
Skin color depends on color green in the shadows
Skin is greasy, so skin also reflects the colors around it
Can you see the green in the skin?
Can you see the green in the forehead?
Skin color also depends on the imagination
Pastel Style
Tonal, rubbed and
smooth tonal “painting”
Linear, cross hatched, linear
“drawing”
smooth blending
of tone
Elisabeth Vigee-Lebrun
linear strokes
Henri Toulouse-Lautrec
both blended tones and linear strokes
Edgar Degas
both blended tones and linear strokes
R. B. Kitaj
physical
texture
through
many built-
up layers
Degas
Physical
texture
through
erasing
and
scraping
Jim Dine
pastel
procedure
Tonal, rubbed and
smooth tonal “painting”
Linear, cross hatched, linear
“drawing”
Lightly draw the shapes first
then color them in
block-in all the shapes with color
then add layers and depth,
save the details for last