Rembrandt’s technique influenced:
Project 4.2 Self Portraits
Bikker, J. and G. J. M. Weber (2015). Rembrandt: The Late Works. London, National Gallery.
Royalton-Kisch, M. (2006). Rembrandt as Printmaker. London, Hayward Gallery Touring.
Rembrandt (1606-1669) was a Dutch painter, draughtsman and printmaker. His works cover a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies.
Rembrandt’s fame while he lived was greater as an etcher than as a painter (he did no engravings or woodcuts). He experimented with different etching and drypoint techniques. He used different mark-making tools to create different types of line – in contrast to the much more mechanical engraving techniques. Rembrandt sometimes employed even the V-shaped engraver’s burin in his etchings, combining it with the fine etching needle and thicker dry point needle, as in the work opposite, for richer pictorial effects.
He also experimented with different inking variations for chiaroscuro, producing very different interpretations of the same plate. Etching allows a lot of correction and burnishing to change the image. In some instances his etching were explorations of light and shade that he then transferred into his paintings.
Goldmark exhibition (has a loupe to see the detail of markmaking)
Detailed discussion of Rembrandt’s techniques and the background to his etchings.
Rembrandt’s self portraits
!!to be further elaborated as I finalise Assignments 4 and 5
Francis Bacon’s edgy, visceral paintings tapping the unconscious a key source of inspiration for:
Quotations from the videos below:
We do with our lives what we can. And then we die. What else is there?
If anything ever does work in my case chance, and what I call ‘accident’ takes over.
Gamble everything on the next brush stroke…different strokes trying to do something else then develop themselves
How are you going to trap reality? How are you going to trap an appearance without making an illustration of it?
- Colour of meat is beautiful
Issues for my printmaking:
Tate Gallery Retrospective with words from Francis Bacon spoken by John Hurt
BBC Archive film
His last interview
Works set to music
Jenny Saville’s extremely tactile approach to painting women’s bodies, including her own, as a feminist critique of the way the female nude has been portrayed by the male art establishment has influenced my work in:
Assignment 2: The Human Condition 2: Flesh Here my focus is on the tactility of the body and ways in which different types of paper eg wrinkled blotting paper or tracing paper give different body textures. As well as meanings of different shapes.
Assignment 4: Abstract Self-Portrait (forthcoming)
Assignment 5: Memory? (forthcoming influenced by Aleppo)
“The way to change peoples’ attitudes is just to do it.”
“The struggle is part of making things work”
“Try to create a balance of being unbalanced”
References and resources
Gray, J., L. Nochlin, D. Sylvester and S. Schama (2005?). Jenny Saville. New York, Rizzoli.
Jenny Saville discussing her painting process in 2018 in relation to the All Too Human exhibition at Tate Britain. This is a detailed discussion of her working process and evolution as an artist. She is interested in:
Earlier interview with Jenny Saville, focussing particularly on her recent work with its interest in time and traces, multiple figures and memory.
in exhibition ‘All Too Human’ pieta of people carrying bodies out from war zones. she used lots of photographs of a woman in burqa and lots of bodies.
“I have been working on Pietas [depictions of the Virgin Mary holding the dead body of Christ] quite a bit, and a series of children being carried.
“Over 20 years I have collecting images of babies being carried out of bombings, war situations, in Pieta poses knowing that one day I will do a piece, so this work has been a long time in the making.
“Aleppo is the first one I have released like it.
“I have done paintings linked to war before, but not linked to a political situation – I have endless images from the internet, or from newspapers, of babies that have been killed in these bombings, and when I finished the piece, I have two children myself, how long will it be before we as humans know not to do this?
“When I was titling it, I thought I would link it – for the first time – to what is going on in Syria.
O’Donoghue was born in England but lived and worked for many years in County Kerry, Ireland. He graduated from Goldsmiths in 1982 and was Artist in Residence at the National Gallery, London from 1984-85.
His work is characterised by an engagement with the past. He uses figuration and abstraction to explore themes of human identity, memory, remembering and experience; and draws on history, mythology and personal records to create works which resonate with emotional intensity.
His printmaking includes very large carborundum plates of figures. He mixes fine grain carborundum, acrylic paste and black acrylic paint. He paints this on the plate with a thick brush, wiping off and reworking the image on the plate before it dries. This makes a complex, multi-layered texture. He often uses aluminium plates. Prints on thick Arches paper.
Hughie O’Donoghue installation at IMMA 2009
The Measure of All Things Introduction
‘Artists never completely control the meaning of their work’
The Measure of all Things Westminster Abbey 2014
nudes stylised. Carves away around a rough line. Then adds a thin line on that. Abstraction. Importance of overall shape. And then relation to line.
From Idbury Prints. No details given For analysis on printouts see Logbook 2.
This is a print made with a piece of corrugated cardboard. I first inked it in blue and printed it on paper. Then I cut away the face in two layers and inked it in red.
linocut face in two colours https://joevandello.files.wordpress.com/2013/07/linoface.jpg