![]() An underlying logic tied together the wide range of sources on historic artistic practices. Matthew James Collins, “Troubadour,” oil on linen, 35 ½ x 47 in.Īfter years of studying first-person sources, manuscripts, and practicing as an artist myself, I discovered a thread connecting different eras of time. Consequently, I would like to focus on the studio practice of life-size portraiture in oil paint in this article. All of these masters commanded a psychological power in their head painting. A select few would include Titian, Moroni, VanDyck, Velaszquez, Reynolds, and Rembrandt. The most powerful paintings I experienced in the museums were the figurative works to the scale of life. With the life-size image, the invisible wall between art and life disappears. The nuances of facial expressions are endless. The ability of portraiture to bridge time, space, and culture is impressive. I paint and sculpt in a variety of genres, but the universal expressive power of the human face has always held a special attraction. Interestingly, the historical eras that garnered the majority of my attention, those that spanned from the late 16th century until the beginning of the 19th century, coincided with the rise and eventual supremacy of life-size portraiture. The fruit of my research was put into practice, emulating the procedure of my heroes. Taking Reynolds’ advice to heart, I developed my drawing, painting, and sculpture skills working directly from life as I read incessantly about the course of study of artists before me. By doing so the individual voice of the artist is expressed. 71) Reynolds strongly felt that working directly from Nature was essential for creating work of significance. As important as the Old Masters were, he warned that to truly fulfill ourselves as artists we should study them but “instead of treading in their footsteps, endeavor only to keep the same road.” ( Discourses. The study of art was a balance between following the wondrous examples of the past (the visual language) and gaining the requisite skills of drawing and painting what we see (observation skills). They were specifically directed to art students and examined the intertwined relationship between art, experience and craft. In his Discourses, a series of lectures delivered at the academy between 17, Reynolds outlines the scope of art and the proper course of its study. Coussmaker by Joshua ReynoldsĪ definitive document on the formation of artists was created by the British school portrait painter, and founder of the Royal Academy of Arts, Joshua Reynolds. My interest in researching the techniques and practices of artists of the past began. ![]() A lack of possibilities forced the creation of an alternative path. Technique was discouraged at university art programs. No available formal structures offered the skills required to create the works that I admired. Beyond the anecdotes, select episodes offered a glimpse into the practice and technique of the language used to express their aesthetic vision.ĭuring the 1990s there was a definite vacuum in figurative art education. It recalled the hero journeys of those who came before. Art History, more than just a collection of dates and images catalogued in the past, metamorphosed into mythology. Admired masterworks became beacons, their authors the guides upon the quest. ![]() This transformative step began a multifaceted journey that involved internal growth through aesthetically engaging the external world. My compulsion to draw, paint, and sculpt had a purpose. Inspired by paintings in the Art Institute of Chicago during my childhood, I knew that I wanted to be an artist. The spark that ignites the passion in aspiring artists is often an experience with a work or works of art - at least that is what happened to me. Painting Portraits: Historical Approaches for Contemporary PracticeĪrt comes from art. This article is sponsored by Realism Live: A Global Virtual Art Conference. Workshops on painting portraits are offered throughout the year. His teaching atelier in Florence, Italy offers a variety of study options. Matthew James Collins has been training successful artists for over 20 years. Detail of “The Young Architect" by Michael James Collins
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