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Foundation Drawing 14 February 2013 Communicating Value: Drawing Still Lifes This week in class we were working on drawing the still life. Our professor shared the work of Giorgio Morandi and Paul Cezanne in order to talk about composition and value as they relate to the making of a still life. Morandi is interesting because he purposely changes the compositions of his still lifes in a way that one wouldn’t see in nature. For example: You can see that the black vase looks as if a tan object is overlapping it, but this object is not actually there, and it sort of melts into the wall. And this definitely was not a mistake. This is an example of Paul Cezanne’s still lifes, which I actually like a lot. I like them better than his portraits or landscapes.

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Page 1: aestheticapperceptions.files.wordpress.com€¦  · Web viewCommunicating Value: Drawing Still Lifes. This week in class we were working on drawing the still life. Our professor

Foundation Drawing 14 February 2013Communicating Value: Drawing Still Lifes

This week in class we were working on drawing the still life. Our professor shared the work of Giorgio Morandi and Paul Cezanne in order to talk about composition and value as they relate to the making of a still life. Morandi is interesting because he purposely changes the compositions of his still lifes in a way that one wouldn’t see in nature. For example:

You can see that the black vase looks as if a tan object is overlapping it, but this object is not actually there, and it sort of melts into the wall. And this definitely was not a mistake.

This is an example of Paul Cezanne’s still lifes, which I actually like a lot. I like them better than his portraits or landscapes.

Page 2: aestheticapperceptions.files.wordpress.com€¦  · Web viewCommunicating Value: Drawing Still Lifes. This week in class we were working on drawing the still life. Our professor

Cezanne is just such a master when it comes to compositional arrangement and value changes, especially in fabric. When we had to draw a still life that included a white cloth as an exercise in class, drawing the fabric was probably the most difficult aspect of the drawing.

Here is the drawing I did in class. Our professor said that it would be helpful to try to find the darkest darks and lightest lights in the still life first, and then add in intermediary tones as you draw. I followed this advice and found it to work pretty well:

Page 3: aestheticapperceptions.files.wordpress.com€¦  · Web viewCommunicating Value: Drawing Still Lifes. This week in class we were working on drawing the still life. Our professor

I found drawing this still life to be extremely fun and satisfying. I was very happy with what I was able to create. For our outside assignment, we had to arrange our own still life. Partly inspired by Cezanne and partly yearning to draw one of my favorite possessions, a skull that lights up from the inside that I painted at Color-Me-Mine, I created the following drawings:

Page 4: aestheticapperceptions.files.wordpress.com€¦  · Web viewCommunicating Value: Drawing Still Lifes. This week in class we were working on drawing the still life. Our professor
Page 5: aestheticapperceptions.files.wordpress.com€¦  · Web viewCommunicating Value: Drawing Still Lifes. This week in class we were working on drawing the still life. Our professor

I liked this composition for its humor, because it looks as if the shoe and the skull are having a conversation. I also like it because to me the skull is a beautiful motif. Most people considerate in a macabre light, and I think that sells it short and overshadows its beauty too much. So by drawing it in a way without morbid connotations, the viewer has the opportunity to focus on its inherent beauty as an object rather than immediately be hit with its somber symbolism.