SPACE

The essential challenge of all artists working in 2 dimensions is the usage of space. It can be a challenge quickly addressed by acknowledging the flatness of the surface as modern painters did or delve into a myriad of choices of how space can be crafted. Such choices presented in art history include (but not limited to) realism/ illusionism, Byzantine, Pre- Renaissance, Renaissance, Cubism. All unavoidably deal with the issue of space selection, meaning and represent the thinking of that era.

John Singer Sargent

To understand this issue we first must look at the subjective nature of engaging space visually as humans. At best we can see just under 180 degrees ( an admittedly incomplete perception of the space that surrounds us.) Below are two examples from John Montagues's Basic Drawing Perspective.

Again remember our brain is comprehending information, in multiple ways, from an image projected upside down within our eye. From this information the brain uses conditioned responses to particular appearances of shapes and colors to process quickly. In this manner vision and it's subject are perceived. The very nature of the term perception, is the ability of the mind to grasp what is seen. The challenge in space depiction is the utilization of depth perception as it relates to:

COLOR (temperature, intensity, value)

CLARITY (focus vs blur)

SCALE ( relative size of objects)

SEQUENCING ( overlapping and placement of objects)

SHAPE DEFORMATION (the regularized shape in perspective and how the mind grasps these shapes as the vacillate between flatness and form)

Space and it's depiction is a loaded choice as it highlights and consciously omits/ edits certain information as it's expression needs. We all generally grow up being amazed by the simulacra of illusionistic space, yet have unintentionally disregarded the multiple possibilities that space offers. It is the artists decision to make use of what best suits their "message" and equally important, enhances their perception of space, a skill necessary in engaging with all forms of 2 dimensional work whether it is advertising, fine art, design, illustration, photography. Below are examples highlighting some artists approach to handling space within these terms.

Thomas Moran

George Inness

Richard Parkes Bonington

The previous examples showcase an extreme depiction of spatial recession in the landscape format, foreground, middle ground and background. Atmospheric perspective is employed as we see colors of a more neutral hue in the background as well as cooler color and less contrasting values. Scale changes are evident as well as overlapping objects.

Richard Deibenkorn

In this example of Deibenforn we can see a tension between the flatness of the space and three dimensionality. It is a heavy "shape" composition which leans toward flatness, yet he employed a knowledge of color and values in spacial recession. Notice the shadows on the pavement.

Lucian Freud

Joan Semmel

Philip Pearlstein

The above examples display an approach to the figure in space through more traditional techniques. We see clear usage of sequencing particularly in Pearlstein (notice the mannequin behind, the in front of the model.) In the Semmel example she plays with the mirror (and extends the space) using color and scale. Notice the taper of the legs and the overlap. In the Freud example, we see clear overlaping of the body, foreshortening, color and scale (thigh/ knee to head ratio.)

Guernica Exploded

Guernica- Pablo Picasso 1937

Picasso created this painting in response to the April 26, 1937 bombing of Guernica in the Basque region of Spain during the Spanish Civil War. The bombing was carried out by German and Italian bombers at the request of the Spanish Nationalist Forces. Guernica has come to be a major anti-war symbol depicting the tragedy and suffering of people, particularly civilians

Lena Gieseke created an animated analysis of Guernica the Picasso Cubist masterpiece. Click here to see. Below please post your comments, impressions, reflections on the animated artwork and the painting. Consider how space been used for emotional purposes, energy, politics, aesthetics, etc.

Large Scale Portrait

Examples below demonstrate the scale we are attempting in this project as well as a concrete sense of form. This is the basis for your exploration into lighting the subject. A form and mass of the head must be indicated as you then begin to investigate light. Please click here to review Skull and Head Structure.

Olmec Heads from Mexican History

Kollwitz

Seurat

Lucien Freud

Andrew Wyeth

Chuck Close

Below we have an image turn upside down and slightly blurred. In this exercise, attempt to draw the image as is, focusing on abstract shapes of light and dark to create form. The likeness will follow.

Light in Portraiture

Deploying light as an active agent in art making is one of the fundamental basis for expression and meaning. Orchestrating both lights and shadows as active spaces in a composition begins to indicate a subjective perspective. Clearly choices are revealed, through illuminating presence and darken absence, as to what is important - object, location, time, narrative. It is the interplay of these two forces (shadow and darkness are not somehow lesser or simply defined by the absence of light, but rather are an elemental force, the diametric opposite, that yield and advance in balance with light) that create an overall tone. Below we see examples of how some artists from various mediums have used light to portray the figure for their own purposes.

In the photo of President Obama we see an ambient light, not too powerful or dramatic. It tries to convey a sense of integrity, strength etc. Presidents are always cast in a light that will not be overt, but more timeless, more classical.

A John McCain Photo from a magazine article pre -Election. The photographer got in a lot of trouble afterwards. From the vantage point and dramatic lighting we can see a subjective perspective of the person. McCain is presented as an overlord, ominous figure, clearly not a flattering portrayal. Notice the light from below and shadow up and behind.

In this example of Jesus Christ, the light is eminating from within. It is a supernatural light that radiates softly outwards giving the sense of purity, kindness, godliness etc.

In this example we see a frame from the Blair Witch Project, a more Baroque use of light, the figure dissolves into darkness. This use of lighting enhances the terror aspect of the subject and provides an environment for the emotion of the film- terror.

In this example we see an image from Sin City, by Frank Miller. Clearly the graphic use of light enhances the drama and grittiness of the content of the graphic novel. Notice the use of silohuette and how the darkness enters the figure.

Again we see a similar approach in Miller's Dark Knight novel. Batman, a character who walks the line between light and shadow (metaphorically), is displayed in that context visually.

In this example by Luc Tuymans we see a portrait with a strong light casting strong shadows. As is typical in his palette, we notice a slight wan quality or paleness. In the following example, we see another painting of Tuymans, in which the contrast is even more obliterated and we get an overexposed light quality. The sense is that light (usually used to illuminate, give form to objects) is overexposured and hints at the destructive power of light as it dissolves away detail and form.

Rembrandt is known for his Baroque use of light and often used its narrative potential. In this example we see a portrait of the artist and the light hints at his interior space, a place of brooding assuredness. The colors indicate candle light or evening light.

Working in Delft during troubled times in Europe, Vermeer crafted these paintings. Exquisite light delicately falling inside on the working people. They convey a pure, cleansing light, perhaps early morning and definitely Northern European light. All expressed by his choice of light, color, setting etc.