This part of the research point into differing ways of drawing is based on the original 5 themes of Part 1 but this time the idea was to use Pinterest as a research tool to study the work of artists and designers.
I was unable to print off the Pinterest boards directly but instead copied and pasted them each into a Word document which I printed off and added into my sketchbook or into this blog without any edits and also without any bibliography.
Below is a copy of each of the boards and added to this blog in the order in which I did them.
NEW WAYS OF THINKING INSPIRED BY WRITING
Pinterest board can be seen at: https://uk.pinterest.com/sakurartextiles/new-ways-of-thinking-inspired-by-writing-oca-part-/
Cy Twombly. Poems to the Sea, Rome 1959. Sheet 16 of 24. Oil, crayon, pastel and coloured pencil on paper. 31 x 31 cm. In this image the sea and horizon are reduced to simple lines with the words of jumbled up poems or questions almost defying the viewer to work out the meaning. Series was done on location in Italy and appeals because it almost feels that the sea foam is washing or being blown over the words creating a feeling of immersion of the poems and the sea.
Alan Lee. Minas Tirith. One of many drawings that this artist did to illustrate some of the re-prints of the book Lord of the Rings. Chosen because Alan Lee had to interpret the words of the book to create the world that the characters inhabited and bring the words to life.
Gustav Klimt. Danae. 1907. Oil on canvas. 77 x 83 cm. Galerie Wurthle. Symbolism. Klimt has interpreted the words of mythology to produce this piece which shows Danae being impregnated by the god Zeus who is depicted as golden rain. Ancient mythology has representation in antiquity with much of it lost and therefore the words are open to individual interpretation throughout the ages including by artists such as Klimt – the classical world continues to influence and inspire artists.
William Blake. Poem and illustration of The Lamb which was part of his Songs of Innocence and of Experience c. 1789. Currently held at the Library of Congress. An example of a painting done to directly illustrate the accompanying poem – the poem was intended to be sung but the melodies have been lost. The use of colour and the attention to detail tell the narrative of the words.
Charles Demuth. Figure 5. 1928. Oil, graphite, ink, gold leaf on paper board. 90.2 x 76.2 cm. Alfred Stieglitz Collection, 1949. Inspired by the poem The Great Figure by William Carlos Williams and worked as a poster – the piece is directly narrative regarding the poem and visually striking due to its instantly recognisable Art Deco style.
Tracey Emin. She Lay Down Deep Beneath the Sea. 2011/2012. Ink or pencil on paper. Tracey frequently uses words in her art to both illustrate and create narrative or entice the spectator to question the meaning of the piece. This artist’s work is expressive and her use of words add to the feeling of catharsis as she seeks to externalise internalised emotions.
Stohead. Enter the Dragon – Art is just a Four Letter Word. Acrylic and spray paint on canvas. 190 x 190 cm. Stohead is a German grafitti artist specialising in contemporary calligraphy which is heavily influenced by the social and political events that surround and affect him. This artist integrates words, colour and line to create form as well as narrative in a very modern format that appeals to a totally different artistic audience that may be seen at a more traditional gallery.
Vincent Abadie Hafez. Aka Zepha. Calligraphy. This is a French calligrapher who is inspired by Arabic typography and through using rhythm, form and colour he seeks to merge the tradition with contemporary – the meeting of old and new. This style of calligraphy which melds with other art forms such as painting and drawing is being increasingly seen and is without question a new way of thinking that is inspired by writing.
WORKS BASED UPON MUSIC
Pinterest board can be seen at: https://uk.pinterest.com/sakurartextiles/works-based-upon-music-oca-part-2/
Below are the images and text that are on this board and which I have copied and pasted for this log and also a copy is in my sketchbook.
Annael (Anelia Pavlova). The Shadow. 2000. Oil on Belgium linen. 112 x 122 cm. Inspired by the Violin Concertos of JS Bach. The series of works entitled Musical Offerings refers to J S Bach’s own series of the same name. Annael invites the spectator to solve a puzzle regarding their own meaning connected with the music through the pictorial narrative. The work is on a singular plane in a semi-abstract formation and has a harmonious musical quality depicted through the use of colour.
Sketch of interior of Fingal’s Cave, Isle of Staffa by Joseph Mallord William Turner. Not strictly inspired by music but worked to illustrate the volume Lord of the Isles by Sir Walter Scott which was part of his series of poetical works. Chosen due to the association of this cave with the composer Felix Mendlesohn who wrote the piece The Hebrides in 1830 – both the poems and the music were completely separate to each other with no connection.
Fingal’s Cave by Joseph Mallord William Turner. 1775-1851. Oil on canvas. 90.8 x 121.3 cm. Yale Centre for British Art, Paul Mellon Collection. Chosen purely for the connection to the same cave that inspired by the composer Felix Mendlesohn and the works of Sir Walter Scott
Mozart – doodle of his favourite pupil Barbara Ployer on a piece of his music. Mozart wrote the Piano Concerto No. 23 for Ms Ployer and I have chosen this piece due to its very direct connection to the work of Mozart – it is not a musically inspired piece but a doodle by one of the great composers.
Pablo Picasso. “Three Musicians”. 1921. Oil on canvas. Chosen due to its clear musical inspiration of 3 musicians and was directly inspired by his own set designs and costumes for a ballet production of Stravinsky’s Pulcinella – this is in the late-cubist style. I particularly like the use of line, form and colour which depicts the scene in a semi-abstract cubist manner – deceptively simple despite high complexity which is in essence the creativity of the opera.
Marc Chagall. Daphnis et Chloe. 1958-59. Part of the series of works commissioned by the Paris Opera for the scenery and costumes for a new opera. The pieces are inspired by the colours Chagall witnessed on his visits to Greece during the 1950’s. I have chosen this piece due to the simplicity of the use of line which creates the form when combined with the colour. The painting is inspired by the music as well as being a part of the narrative of the opera.
Wassily Kandinsky Composition VIII. 1923. Oil on canvas. 140 x 201 cm. Inspiration – Wagner’s Lohengrin. Combination of shapes and colours created to give illusion of sounds – this piece and the series of works immediately give the impression of a symphony with the geometric style shapes creating rhythm.
Georgia O’Keefe. Music – Pink and Blue No. 2. Oil on canvas. 88.9 x 74 cm. This artist was not so much inspired by music but saw music and art as connected by the fact they were both forms of artistic self expression and this piece is suggestive of her belief due to its very title. This piece has a gentle rhythmic quality reminiscent of a musical phrase or full piece with its use of colour and shapes creating the narrative of the score.
Pinterest board can be seen at: https://uk.pinterest.com/sakurartextiles/identity-and-labels-oca-part-2/
The tomb of the unknown craftsman – Grayson Perry, 2011. British Museum. There is always the question over which genre Grayson Perry’s work belongs in – is this a piece of pottery or is it a piece of painted art speaking of a social or political statement? This artist crosses boundaries in whatever he art he creates in the same way he does in life.
Bra of Cactus and Cloth, Prickly Heat by Wendy Moyer (Mexico) 2010. WOW at the Auckland Museum. Wendy Moyer is a textile artist/sculptor who is inspired by nature and uses a variety of techniques to manipulate her fabric which include carefully and slowing melting fabrics (synthetic or nature) which may have been painted over a very low flame. The use of colour and form which has been developed from drawings shows a very level of skill.
Dale Chihuly. Black Cylinder #33. 2006. 17 x 11 x 11. This glass artist uses glass threads which are picked up and melted into the glass whilst it is still molten in order to create his intricate designs – he literally draws with the glass threads which is reminiscent of abstract painters or thread painters. The cross-over between artist and glass-blowing creates a new style of glass art or sculpture.
Ghosts of Christmas Present: Homeless downtown — Natural Artistry Photography by Andrew Murdock: Editorial and Commercial, Frederick, MD. This is an image of a homeless man, taken by my own brother, and through the use of photography he gains an identity to the world which has been lost – to society that walks by he has no identity.
Jennifer Day – Tibetan Treasure. ‘Thread Stories Buddhist monk from Tibet is holding his bowl of tea like it is a treasure. This quilt required 47 colours of thread & 46 hours of work to complete’ – the result is painterly in style and therefore I find when the spectator views this piece of textile art they question whether it is indeed a painting or can it really be thread let alone a quilt? Please note I could not add the image due to incorrect format but it can be seen at: http://www.jdaydesign.com/artquilting/tibetan-treasure/ – in addition this image is on the Pinterest board and in my sketchbook.
Bad Rain by Ferret. Ferret is a quilter with a background – she is a former astrophysicist which can be clearly seen as a strong influence in her work as she seeks to create art quilts. Her work is clearly quilting but she crosses the boundary into textile art due to the level of skill required to form her pictorial quilts as she uses a combination of techniques. I question in truth whether she is a quilt or whether she is a textile artist as she paints with fabric and thread.
Original art, mixed media assemblage on mannequin torso, Minnie, vintage beads, jewelry, buttons, glass, silver, gold, steel, found items. Discovered this piece on Pinterest – artist unknown but one who uses the listed items to decorate the mannequin and turns a normal, almost every day item, into a piece of sculpture that is not quite textile art and nor is it collage as it is a mix of all 3.
Jenya Vyguzov – The Power of Collage. This piece has been found on Pinterest and I really like the combination of what appears to be photography with collage. I have added this particular artwork to my board due to an upcoming course work exercise. The artist appears to question identity in the masculine nature of the figure in terms of clothing, hair and also colour tone which is combined with the softer more feminine collage for the face and hands.
Pinterest board can be seen at: https://uk.pinterest.com/sakurartextiles/personal-experience-oca-part-2/
Tracey Emin – Everyone I Have Ever Slept With- about lovers, family, and the two children she had aborted. Tracey Emin’s work could be classed as personally cathartic as often her pieces are done from memories, dreams or personal experiences although the pieces do not always speak directly of the narrative – she leaves the spectator to work out the story.
The Broken Column – Frida Kahlo. Much of Frida Kahlo’s work featured her suffering and angst and in this image she portrays it by the use of nails, a horrifying corset and the broken column which is in place of her spine which is on show through the disturbing ravine in her body. The artist lived through turbulent times and portrays her struggles in her work.
Edvard Munch, The Sick Child, 1896. As a child Munch witnessed the death of his sister as well as the patients of his father and in this series of paintings he seeks to portray the suffering he witnessed through his personal experiences. The painting is almost blunt in its narrative and no words or explanation is needed.
Portraits of People in Two Different Times by Bobby Neel Adams. This project shows the personal experiences of the people portrayed as he splices together two differing photos taken at different times in a person’s life. The series of images show the effects of the personal experience on the person involved in their faces – you do not know the lives they have lead but you know their personal experiences have affected how they look and how they are portrayed.
Artemisia Gentileschi, Judith Slaying Holofernes. 1620. Oil on canvas. The earlier version of this work was done just after or during the trial of Artemisia’s rapist – there is no doubt of the influence of personal experience on the earlier work of 1612 and potentially on this one although not all of her works were autobiographical.
Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon, – original titled The Brothel of Avignon). Oil on canvas. 1907. It is well known that the artist had several mistresses and the fact this painting is of 5 nude women at a brothel and painted in a direct and forthright manner whereby they are made to look unattractive could be a reflection of his opinion of the working girls and of his personal experience.
Edouard Manet. “A Bar at the Folies-Bergere”. 1882. Oil on canvas. 96 x 130 cm. Despite Manet’s upper class upbringing he led a somewhat bohemian life and as such painted scenes which he experienced such as this one of the forlorn young women working at the Folies-Bergere although Suzon was in fact painted in the studio and was thought to have been one of the prostitutes who frequented the bar.
Clara Lieu, Self-Portrait No. 30, etching ink and lithographic crayon on Dura-Lar, 48” x 36”, x 2011. This drawing was done by the artist to visually represent her struggle with depression which was not diagnosed for some time – it is literally someone crying out for help in a time of deep personal anguish and comes very much from personal experience. A powerful and striking image that speaks of pain and suffering.
WORKS BASED ON PLACE
Pinterest board can be seen at: https://uk.pinterest.com/sakurartextiles/works-based-on-place-oca-part-2/
Alberto Pisa. Monastery of Santa Scholastica. 1905. Post-Impressionist. Pisa painted the landscapes and towns of his locality in Italy frequently returning to the same areas time again to capture the differing light and changing colours in oil, pastel or watercolours.
Giorgio Morandi. Natura Morandi. 1933. 25.8 x 30.4 cm slab – 40 x 50 cm paper. Etching on copper and printing. Morandi used his studio repeatedly for his still life works and is an example of the place having a key role in his work – his studio became the location for his inspiration as it enabled on him to work on a still life in a variety of different media or arrangements over a considerable period of time.
Joseph Wright of Derby. Dovedale by Moonlight. 1785. Oil on canvas. Wright was an artist who was intrigued by the effects of light whether natural or artificial. Wright often painted moonlight in his industrial or landscape to create a different atmosphere to that of the works that were painted with sunlight as the light source – this painting of Dovedale demonstrates this recurring theme in a location that is a personal source of inspiration.
Andre Derain. Charing Cross Bridge. 1906. Oil on canvas. 80.3 x 100.3 cm. Fauvism. Derain painted over 30 views of London including this one of Charing Cross Bridge – a scene that Monet also painted. Unlike Monet however Derain painted all these works in his studio in Paris with only sketches done actually in London – the studio and location both are of equal importance in terms of place but with the colour taking precedence over naturalism and also being now independent from form.
Laurence Stephen Lowry. Mill Scene. 1971. The Lowry, Manchester. Like Andre Derain Lowry made rough sketches, often on scraps of paper, on location before painting the actual scenes at his workshop at his home (not his studio) with a palette of just 5 colours. Lowry painted scenes of industrial and urban life often returning to a location to capture a different atmosphere or angle – again like Lowry his workshop was as important to his process as the actual place.
J. M. W. Turner – The Burning of the Houses of Lords and Commons. 1835. 92.1 x 123.2 cm. Oil on canvas. A scene painted in the studio but done from sketches made on location using pencil and watercolour although not known if done as the event actually unfolded. Turner was known for his ability to paint the effects of lights and his dramatic skies which this particular scene demonstrating the combination perfectly despite the sky being overshadowed by the great plumes of smoke and fire.
Claude Monet. The Artists Garden at Giverny. c. 1900. The garden that Monet created was a rich source of inspiration for countless works of art which became more abstract as his career and life progressed. In this particular piece I am inspired by the use of colour and light to depict the sunny pathway edged with flowers and overhanging foliage with the house in the distance.
Lyme Park in the snow, by Takumasa Ono. Watercolour, ink and print – artist. This Japanese artist is an artist in residence with the National Trust as he works to capture images of the houses and grounds of the properties through the UK. I have personally met this artist at a local National Trust property and own two of his prints – the combination of the Japanese art of sumi-e and silk-printing is of great inspiration as are the houses themselves.
EVALUATION OF PINTEREST
So how did I find this method of research or how did I find Pinterest could be used a research tool? initially I freely admit to being very skeptical and was unsure of how to use Pinterest in terms of research but as I gradually started to work through each of the boards I started to realise how effective it could be – I started to find artists I would not have thought of or new artworks from lesser known artists that are of interest.
I fully admit to researching some art works using Google and then finding the relative images on Pinterest or checking on Google whether an image of a well known artist was done as part of a series of sketches or whether the process of creating the piece was in a studio, workshop or on location. I think a disadvantage to me at this point was having done the art history course because I was wanting to use familiar artists I have previously researched or come across – of course my mind went totally blank when trying to remember them though!!
I did find Pinterest was able to provide images from familiar artists I may not have come across before such as the one by J M W Turner of the burning of the Houses of Parliament or the still life by Morandi and this I found particularly useful – it also enabled me to discover the work of Marc Chagall amongst others and so I can fully appreciate how it can be used once I get out of the habit of Google! Another plus point was the aforementioned images from lesser-known artists and other ideas that I may not have considered – just by typing in different variations of a theme started to produce some interesting results and I have already started to add some new images to the boards.
Overall – will I continue to use Pinterest and create new boards? very much a resounding yes and it will become part of my research process and no doubt also a place to pin various ideas and images which I feel may come in useful. I also feel Pinterest will become my online pin board as it is intended to be when working on a particular idea – the images may not necessarily reach my blog or my sketchbook but they will be there as reminders that may create further ideas or lines of inquiry.