Working from sketches as opposed to photos.

Juan Martinez · 07-28-2005, 10:24 AM

Oh, one more thing (I hadn't properly read the first part of your post). I imagine the types of paintings referred to in your class were not all portraits, right? The 19th century French academy was renowned for its rigorous training regimen, which David helped to establish. Among other things, its intent was to teach students how to work up elaborate "history" paintings from sketches and studies and models. This was an especially useful craft when you had to depict events from long ago, or mythical/religious themes.

Sadly, it's a bit of a lost art today.

Best.

Juan

Kimber Scott · 07-28-2005, 12:59 PM

Juan, the Degas sketch of the Baroness Bellelli was done from life. She was his aunt. He stayed with the family for nearly eight months and completed studies of all the family members in the painting during this time.

The David paintings of Napoleon I was thinking of when I started this post were portraits, but you are right about the French Academy. Their training was amazing. History painting was considered the highest form of the art (portraiture of the social elite a respectable second - both of these distinctions would change) and yes, they were done from compilations of sketches and models and props. You will notice the figures in the paintings seem to have similar poses throughout decades of different artist's work. This was due to the fact heroic figures were painted from sketches of ancient Greek and Roman statuary. Professional models were even trained to assume the poses found in the ancient sculptures. Academy painters became so adept at painting these figures, their "final exams" consisted of executing a history painting from memory. Graduates-to-be were lined up facing a canvas. Each students canvas was partitioned off from the next student's by a curtain, or drapery, and here they were to execute a painting. Artists who could not compete in this genre were relegated to painting landscape, still life, or "genre" paintings, (peasants enjoying pastoral life and such.)

I have sworn off painting from photographs for now. The experience has been nothing short of frustrating as I don't have the know-how to make the painting look as if it were done from life and not a photo. Honestly, few people do. I don't know that the painting from studies will prove any more successful, but I do know more time in front of a live person will do me good. So, when I have a model I am drawing and painting from her. This coming semester I'm very excited about the fact I will be in front of a model 12 hours a week and I'm expecting a lot of progress from myself. (As long as I can beat back the "Oh it doesn't matter if the head is the right size... express yourself!" teachers.)

Juan Martinez · 07-28-2005, 02:14 PM

Kimber, good luck in the life class. The more we work from the life, the easier it becomes to understand what to do with those accursed but tempting photographs.

Juan

Ngaire Winwood · 07-28-2005, 07:09 PM

Thanks Juan for explaining about Annigoni, who is one of my favourites. Do you have any examples of these sketches?

Kimber what an interesting training course you are getting studying interesting subjects about real classical training methods and how excited you must be about getting 12 hours of model time each week, wow.

Juan Martinez · 07-29-2005, 01:50 PM

Ngaire,

Nope, I don't have any examples of these sketches and studies. I've seen them here and there in the various Annigoni books I've looked at over the years, but there aren't any in my two meagre volumes.

Juan

Mari DeRuntz · 07-02-2006, 10:02 PM

Consider this thread - it should strike us all as odd that it's so buried on this great forum.

I plan to beef it up, but it will take some time...

It's a great topic, Kimber.

Mari DeRuntz · 09-12-2006, 08:42 PM

Finished portrait on top, Elizabeth II, followed by two drawings/sketches, studies from nature, by Pietro Annigoni used to work out issues for his portrait of Elizabeth II.

Sometimes when you work from life the "concept" in your mind does not work on the paper and many, many drawings die as you're working out your subject.

And then some sketches catch it--that divine connection between your mind, your subject, your maker--and the painting has the potential to be immortal.