Analysis of a Painting A self-portrait head in heavy impasto and palette knife-slicks of Prussian Blue and Lemon smeary-scrapes floats on a brushy thin Terre Verte ground. Along the bottom edge of the painting, black is stiff-brushed on and a delicate repeat pattern is scratched in (sgraffito). The title Bilious Me is squirted direct from the tube in lurid yellow and lime.
I am now ready to follow up from this oil painting from a few years ago. The work came from instinct, but I didn’t know what or how to continue. I can now develop the idea.
In past months I’ve been preparing the Self-Reflection project with research and a series of pastel drawings of other artist’s self-portraits.
Self Reflection: a mirror before me, equipment to one side, art books to the other side, I draw the self-portraits of other artists and also myself. I draw the selves they present. I re-present their introspection. I observe, draw, reflect, alter, refine. My eyes flicker to my own reflection. As we look at self-portraits we reflect on ourselves.
Laura Cumming writes of the self-portrait trinity of image-object, private self, public face. The following drawings are presented as triptychs referencing Cumming’s concept, and beginning to think about the three different views of oneself in a dressing table mirror.
The next stage of this work is a series of painting that explore the motif of portraiture and colour symbolism. I am provisionally calling this concept Colour Trait – an interplay of painting tropes: pigment types, application methods, colour symbolism & pathetic fallacy. The paintings will combine colour symbolism with the representation of identity, mood, and the motif of the face.
Other Portraits (Colour & Mood)
Drawn from Lovis Corinth’s Ecce Homo (1925), 2011 Corinth’s Ecco Homo was in the Degenerate Art exhibition (Entartete Kunst) at the Munich Hofgarten.
Abrahams, Simon Every Painter Paints Himself Portraits of the Artist and An Alter Ego & http://www.everypainterpaintshimself.com
Bell, Julian 500 Self-Portraits
Bird, John Leon Golub Powerplay the Political Portraits, Reaktion Books Ltd London 2016
Borzello, Frances Seeing Ourselves: Women’s Self-Portraits
Butler, Emily Creating Ourselves: Works from the ISelf Collection
Cooper, Tarnya & Bolland, Charlotte The Encounter: Drawings from Leonardo to Rembrandt
Cumming, Laura A Face to the World
Hall, James The Self-Portrait: A Cultural History
Pointon, Marcia Portrayal and the Search for Identity
Rideal, Liz Mirror Mirror: Self-portraits by Women Artists
Soussloff, Catherine M. The Subject in Art: Portraiture and the Birth of the Modern
Vann, Philip Face to Face British self-portraits in 20th century Sansom & co., Piano Noble
Colour & Pigment Bibliography
Batchelor, David Colour (Documents of Contemporary Art)
Batchelor, David The Luminous and the Grey
Bucklow, Spike Red: The Art & Science of a Colour
Finlay, Victoria Colour: Travels Through the Paintbox
Mavor, Carol Blue Mythologies: Reflections on a Colour
St Clair, Kassia The Secret Lives of Colour
Further info for funding bid
I have been selected for the Turps Correspondence School with a view to developing my Self Reflection work.
The Correspondence Course is led by Turps Education Directors, Marcus Harvey and Helen Hayward, and managed by Turps Correspondence Course Co-ordinator Scott McCracken. Programme mentors present and past included: Dan Coombs, Covadonga Valdes, Katrina Blannin, David Leeson, Peter Ashton-Jones, Jennifer Coates, Marcus Harvey, Phil Allen, Philip King, Sofia Silva, Colin Smith, Neal Tait, Emma Talbot, Andrea Medjesi-Jones, Luke Dowd, and Geraldine Swayne.