Nathan Grace

How Classical portraiture can be presented in a

Contemporary manner.

Classical portraiture has incorporated a variety of techniques and ideas. Many of

these are essential to the success of the works and have remained within paintings

throughout time. I wish to delve into this topic based on my own interest in

portraiture and the medium of oil painting. I intend to develop my skills further by

exploring and comparing the fundamental qualities of Classical and Contemporary

oil portraits. These features include exploring; chiaroscuro, colour and paint

application and narrative. I intend to focus on specific artists that portray

similarities between one another.

Chapter 1: Chiaroscuro

Michelangelo Merisi da Carravaggio

“Judith Beheading Holofernes”

1599, 154 x 195cm, Oil on Canvas

Chiaroscuro is a term that refers to the idea of light and

dark values in paintings, and the way they contrast to

create a dramatic or emotional effect based on the

artists ideas and aims. In Italian, it means “light-dark”

and the dramatic effect was popularly used by the artist

Caravaggio, who used the method with great intensity as

seen in the image to the left, “Judith Beheading

Holofernes”. It was his work that continued to influence

many artists of the 17th Century, leading it to become a

primary painting technique in that era. Though

Caravaggio is a key figure who used the technique,

I wish to focus on the application within other artists

work.

.

Rembrandt

“Titus Van Rijn as St Francis / Titus Van

Rijn in a Monks Habit”

1660, 79.5 x 67.5cm, Oil on Canvas

The styles’ harsh lighting creates isolation of the

subject, therefore generating a great sense of

tension and emotion within the painting.

Rembrandt, an artist who is “arguably the greatest

painter since the Renaissance”, (http://www.visual-

arts-cork.com/best-artists-of-all-time.htm*) created

masterful pieces, based on the style of chiaroscuro

and was able to successfully generate this effect.

He is praised as a great exponent of chiaroscuro

and this can be seen in his piece ‘Titus Van Rijn as

St Francis’ which shows Rembrandt’s son, Titus,

as a monk. Around the figure is a darkened

background, a technique used by Rembrandt, generating a sense of isolation, drawing

a viewers’ focus upon the mans face, which is illuminated on the right side. This

therefore creates a contrast between the figure and his surroundings, and implies a

sorrow and thoughtfulness about Titus, to which one can empathise with. The shadow

cast by his hood beneath his superciliary arches and below his cheekbone, contrasts

with the rest of his structure, and creates drama to the form of his face. The sharpness

between lights and darks achieves volume and dimension in the work.

Comparatively, Henrik Uldalen, a contemporary artist, incorporates a strong sense of

chiaroscuro into his surreal works. Many of his pieces focus on the idea of isolation in a deep,

ambiguous darkness, with an ascending, cool hued person. Many of his pieces focus on the

Henrik Uldalen

“Efface”

2015, 100cm x 100cm, Oil on Wood

idea of isolation in a deep, ambiguous

darkness, with an ascending, cool hued

person. They appear to expel

themselves from an unknown dream

world into a smokey light. The portrait

to the left appears to shine amongst

darkness and the abstract calmness

generated by the use of light and dark

values create a broad sense of dramatic

enticement. As with ‘Titus Van Rijn as

St Francis’, there is a triangular light cast

on the cheekbone to extenuate the

strong, dramatic light from the darkness

and create a strong, chiaroscuro style

contrast. The two portraits, produced in different centuries, are presented very differently, due

to the opposing styles of painting in terms of colour palette.

Rembrandt’s painting of ‘Titus’ is a warm and saturated piece that

exaggerates the darks and light tones. The application of colours such as

burnt sienna, red ochre and vermillion along side suggestions of yellow

ochre help to achieve this. In contrast, Uldalen’s monochromatic

paintings incorporates blue tonalities, which gives the illusion of a cool,

stark painting. However, he similarly creates the illusion of light and

dark tones through the pale blue additions, against the extreme darkness

of the background. Rembrandt allows different emotional reactions in

the warm hues comparatively to Uldalen’s subdued marks and cool

values that draw you into a “dream or limbo-like state, with elements of

surrealism.” - (http://www.saatchiart.-com/henrikaau) Though different

in subject matter and colour, both paintings supply the viewer with an

emotional reaction and create an impacting, dramatic response.

This therefore shows how chiaroscuro is implemented beyond the 17th

Century, and into to a Contemporary manner.

Chapter 2: Colour and Application of Oil Paint

John Singer Sargent

“Man Wearing Laurels”

1874 – 1880, 44.5cm x 33.4cm, Oil on Canvas

The Classical ‘Indirect’ painting style consists of three or more

layers of a painting in which a wash of thinned oil colour

(generally burnt sienna due to its transparency, or possibly burnt

umber or warm grey) is applied on a white canvas or board.

This technique stops the light being absorbed into the canvas

and forbids a ‘flat’ look to the painting. This stage is followed by

an opaque layer, on which the subject is created. This generates

the beginning of a narrative, progressing into a final stage, where

glazing takes place, which is “a subtle transparent evenly applied

layer of color” (Nancy Reyner, 2012) to control the intestines

and light and dark values, achieving the sense of dimension.

This technique was popular in the eras of Claude Lorrain,

Rembrandt and John Singer Sargent. It is also used in the

Contemporary works of Aaron Nagel and Jeremy Mann.

Singer Sargent, especially, worked in half tones. He said, “If you begin

with the middle-tone and work up from it towards the darks so that you

deal last with your highest lights and darkest darks, you avoid false

accents.” Singer Sargent applied the paint generously with a large brush

and worked in layers to achieve texture and dimension. He said, “You

do not want dabs of colour, you want plenty of paint to paint with.”

This can be seen in the painting, “Man Wearing Laurels” through the

painterly marks on the skin as seen in the zoomed image on the right.

This style of painting is used by Contemporary artists such as Jeremy Mann. Mann is famous for his cityscapes,

though I will be exploring portraiture. His unmistakable style lead to him being praised as a “modern master”

(http://www.johnpence.com/visuals/painters/mann/). His application is very precise and every mark and insertion of

every colour is an essential movement in his works: “The fact that I now know the minimal information it takes to

get an idea across in the brain, that is ten/fifteen years of study into a two minute mark - that’s rehearsal, rehearsal,

rehearsal. Hit it. If you missed, start another painting.” - Jeremy Mann.

Jeremy Mann

“Self Portrait”

2009, 28” x 22”, Oil on Board

He expresses the importance of application as Singer Sargent

does and his work is textured in the same way. Many of

Mann’s paintings are of a cooler palette comparatively to

Singer Sargent’s generally warm works. The primary

difference lies within this factor. However, the broad brush

strokes appear similar through the use of painterly marks.

The physicality of appliance in Mann’s paintings match the

classical masters, like Singer Sargent. The difference lies with

the intentions of their pieces. Mann presents visuals of the

emotional aspect of life within modern society, while Singer

Sargent followed relevance to his own time of the 19th

Century. Another observation between the two artists is that

though they are both fairly loose in their painted application

of colour, however Singer Sargent’s work is slightly ‘tighter’ in

terms of blending than Mann’s.

As seen in the comparison of the eyes and nose below, there is methods applied in Mann’s work that are apparent

in Singer Sargent's piece. For example, the method of highlighting the nose with a bold white to create a prominence

and three-dimensional effect is used in both as well as a deep darkness in the area of the eyes. This suggests both

Singer Sargent and Mann had similar ideas with lighting and with their appliance. In both paintings, the marks can

be seen on the surface and appear to be directional and follow the structure of the facial features.

Chapter 3: Narrative

Tiziano Vecellio

“Penitent Mary Magdalen”

1565, 47”x39”, Oil on Canvas

Narrative in paintings is an essential element for an artist to convey

what they wish to present and inform a viewer. It is the telling of a

‘story’ through visual arrangements and is essential to many works,

both Classical and Contemporary. The nature of narrative in art

can vary from minuscule to extremely suggestive, depending on the

desirability of the artist and their subject. Tiziano Vecellio, (1488-

1576) was infamous for his splendid religious, mythological, and

portrait paintings, original in conception and vivid with colour and

movement. His religious painting, “Penitent Mary Magdalen,”

created in 1565, displays an emotional subject and empathetic

piece, due to the narrative in the piece. It tells a story of a woman

raising her eyes to a heavenly sky to face God and show

repentance. It speaks to a reader and informs them of her sense of

spiritual devotion through the presentation of penitent tears falling

upon an open Bible.

Aaron Nagel

“Signals”

2010, 30” x 40”, Oil on Canvas

She also carries a small pot next to her which she used to wash the feet of Christ as a sign of her

determination in penitence. It displays maturity and a richness about the colour. The tones of her

skin are presented as saturated whilst on a cool background with elements of warmth which may

be considered to represent her hope among a sense of despair. Her hands and the use of light

are essential elements to the narrative of the piece, as

they inform the messages deep within the work which

include the idea that a fallen woman has returned to

the path of Jesus. Similarly, the works of

Contemporary painter, Aaron Nagel relate to the

works of Titian in terms of religious imagery, yet the

contemporary artist portrays his messages in his own

manner that implies modern influence in his subjects.

Both artists rely on suggestion and narrative to

exaggerate a point. Nagel’s narratives, in many of his

works, are told through the positioning of his subjects

hands, such as in “Penitent Mary Magdalen” due to

their representing of sin.

He paints the hands and chests of his subjects black, which goes beyond being merely aesthetic and represents “dirty

hands” metaphorically, implying wrong doing of the subject. The nudity of the subject implies that the sin is sexual.

This relates to the painting of Magdalene as her sin was sexual due to her reputation as a prostitute. This style of

Nagels generates a unique narrative and purposeful piece that allows for a rich narrative and interpretation.

Both narratives of Nagel and Titian manipulate light in order to create atmospheric tension and contrast that defines

the different intentions of the artists. Both artists appear to rely on the concept of narrative to achieve paintings that

allow them to convey what they wish to inform and present to a viewer.

I found that in the process of collaborating the techniques found in the transition of Classical to Contemporary

portraits, there are many methods to paintings that can be presented as effectively today as in the past. The

techniques and ideas of chiaroscuro, colour and paint application and narrative in oil paintings are all essential to the

success of how Classical portraiture can be presented in a Contemporary manner. Reflecting on the similar qualities

between Rembrandt and Uldalen show that chiaroscuro is still as effective today in creating an emotive reaction from

a viewer due to the “dramatic effect” it has. Despite the different intentions, both artists achieved this in response,

showing the effectiveness of chiaroscuro in a Contemporary manner. Colour and paint application, when looking at

Singer Sargent and Mann, show that similar techniques were followed through time between each artist with certain

methods such as highlights and values. Also, both artists appear to use the idea or directional appliance, proving its

lasting effectiveness as a technique. Narrative was proved timelessly essential in paintings in the comparison of Titian

and Nagel due to each artists use Of telling of a ‘story’ through visual arrangements. For example, the open Bible

and penitent tears of Mary Magdalene and the ‘dirty hands’ of Aaron Nagel’s subjects.

Summary

Looking back on my title, “How Classical portraiture can be presented in a Contemporary manner”, I discovered

that application of paint and colour, composition and techniques such as chiaroscuro are all factors that have as

much relevance today as they did in past centuries, and are essential to the success of Contemporary oil painting.

Having compared the similarities and fundamental qualities of Classical and Contemporary portraiture, I will take

what I have learnt and apply it to studio practice in sketchbooks and future paintings that accompany this work.

Conclusion

Bibliography

http://www.explore-drawing-and-painting.com/Sargent-John-Singer.html

http://www.gamblincolors.com/newsletters/studionotes12.html

http://www.getty.edu/art/collection/objects/519/titian-tiziano-vecellio-the-penitent-magdalene-italian-

1555-1565/

https://www.ibiblio.org/wm/paint/auth/titian/

http://www.johnpence.com/visuals/painters/Mann

http://nancyreyner.com/whats-a-glaze/

http://www.naturalpigments.com/art-supply-education/rembrandt-van-rijn-color-palette/

http://www.redrabbit7.com

http://www.saatchiart.com/henrikaau

http://www.tate.org.uk/learn/online-resources/glossary/n/narrative

https://vimeo.com/25449641 (Artist Aaron Nagel Studio Interview - Warholian Profile Series -

warholian.com)

http://www.visual-arts-cork.com/best-artists-of-all-time.htm

https://www.youtube.com/watch?v=WrFThpurzVY