FMP - Artist Research

Books

Drawings of the Masters 20th Century drawings (1900 - 1940)

• Otto Dix - Sketch for a War painting, 1917.

1. I like the loose and expressive style of the drawing
2. The people shown in this sketch are very basic with blurred features; possibly to represent it being a normal surrounding to see so the artist doesn't look in detail of the people around, dead. I notice they have hollow eyes as well to emphasize the fact that they are dead, and that there is no emotion behind them anymore.
3. This makes me feel sadness mainly because there is no one living people anymore in this scene.
4. I could use this style in my drawings, especially in my still life drawing that I would like to do as I have no had much practice from drawing from in front of me. Also, my sketching and his sketching are fairly similar when I am sketching quickly.

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• Oskar Kokoschka - The artist's mother relaxing in an armchair, 1912

1. I think this sketch was created to capture a simple moment, and this is shown in her natural and relaxed facial expression.
2. Basic sketching could be a good starting point with my drawings.
3. I also researched his other portrait paintings, and I really like his painting style, being still quite tight in his technique and how he paints but its still seen as quite rough and loose in his brush strokes. I will definitely take on his heavy lined sketching technique and his painting style in my development and experimentation.

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Internet

• Gerald Scarfe - (General Caricatures) 

1. I came across these on Pinterest and I've found them quite interesting; to look at a face and find their most prominent facial features and explode them so out of proportion it's amusing to look at. That I could use if I create portrait to make the viewer have a certain emotion by seeing the artwork.
2. Although it's not my style of drawing I like how it can make the viewer interested in the portrait and possibly make them smile or laugh.

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• Edouard Fraipont - Blurred Movement Art

1. I find him similar to Francis Bacon to his disfigured and somehow slightly disturbing human figures and faces.
2. I like how he creates emotions through kinetic movement and this shows a very creepy image when one movement overlaps another movement.
3. If I recreate these kind of images it would really be interesting to replicate the emotion of distress or anger.
4. I can either use photography to make these sorts of images or paint them very loosely to emphasize the movement and emotion through the painting, not so focused on the facial features.

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• Jennifer Mazza

1. I love her realistic also very basic close up pieces of the bottom half of a face and a hand. This really emphasizes the fact the images are full of emotion and you can get an aura from these straight away e.g.; (top) sadness or anxious and (bottom) worry.
2. I could use this technique of painting in my acrylic experimentation, but recreate these with the whole face.

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• Guy Denning

1. I love how the face is the focal point in the drawing because of all the highlight is in the middle of the face, where the emotional features are more important and more interesting to look at than the rest of the picture and negative space around it.
2. The use of black and white pastel/chalk/acrylic on medium to dark paper makes the black shadows and white highlight really stand out.
3. I can use this in drawing still life or drawing from references.

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• Cheyenne Randall

1. Although I'm not doing celebrity drawings, I find this an interesting way to show emotion or just to simply see a different outlook on that celebrity if the photo manipulations of celebrities were true to life. For example they look much more aggressive than before, for men and women.
2. I might not use this artist in further development of mine because I don't see it as being as relevant with emotion as much as some other artists I've found and will use.

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• Francis Bacon

1. Showing emotion through these could work but only really well with the negative emotions (if I choose to only paint and draw negative emotions, it could be useful)
2. The creepy aura I get from it could be quite interesting to do some inspired photographs from him, with all its blurred disfigured facial features in one.
3. I think drawing from photos like this could make the picture have more movement from all the drawn lines.

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• Edouard Manet

1. This first started my ideas of who I wanted to paint like, just because of its loose faded look of the painting but, when up further away, it looks almost like a photographic image.
2. I think this is a good starting block for painting but I'd put a twist on it and make it more unblended block-like colours in the painting, but it'll depend on what emotion I'm trying to get across.
3. I like how in his portrait paintings they're like they have their own story behind each e.g.; the left one looks as if the picture was created after an event, personally.