“The line has almost become a work of art in itself” ~ Theo Van Doesburg
Still on the second unit of my first online illustration course, this is my version of how I suppose that Egon Schiele may have drawn a portrait of Broncia Koller-Pinell’s Marietta.
Broncia Koller-Pinell had a considerable influence on Egon Schiele. She and her husband were his influential patrons.
Schiele’s dynamic, raw works have a beautifully frugal sense of line, the line being a dominant element in the structure of all his works. He was more interested in contour than volume. Schiele ranks as one of the greatest draughtsmen of all time. He had a remarkable touch when building a line and contour of any figures, his extremely distinctive style was formed on one main foundation and means of expression – the line.
Although there is obvious toning on the body, I perceive an appealing sense of flatness to it, as with many works by Schiele. The lines do all the work. Weight is the essence of form. It is comprehending the solidity of the form.
Can you tell I’m passionate and excited by great lines?
Schiele rarely portrayed graceful nude bodies like this demurely seated female nude, most were curiously distorted and uncomfortable. His interpretation of his models presented bony, knobbly bodies in angular, knotted poses. Evidently, he liked to challenge rather than please the viewer.
His lines show a tendency to peak at points of tension (the outline of the hip, the top edge of the left shoulder and forearm), a trick that makes the contour static but not heavy. This was difficult to replicate as the model Marietta has considerably more flesh on her than his usual models appear to have.
Carefully outlined in black crayon or ink on tinted paper, crayon has been used to decorate the figure. He often left his portraits in an unfinished state, and rarely with any background details.
You rarely get what you expect in life and despite it being almost Christmas you won’t see a stunningly beautiful festive painting as done by Lesley White nor this marvelous Thanksgiving watercolour by Carol King. But I do promise not to whine this time.
Anyone who kindly reads my witterings know that the process of setting up my online shop has wilted the neurons in my feeble brain. (Almost whined there.) The remedy? A first venture into abstract
doodling mark making, some of which is influenced by images seen on the internet.
Abstract art isn’t supposed to look like anything, which is immediately freeing. It can be whatever you make of it – or whatever you don’t make of it.
With ink and watercolour paints, I soon became totally immersed in making marks and shapes for their own sake, which was most gratifying. Time zipped by.
Making repetitive gestures was both relaxing and absorbing; sometimes it felt almost unconscious as I tried not to exert too much control.
And yes, these images will be put to use in my ** Zazzle Store.
I’m considering running another site purely for commercial posts. Maybe next year.
Until then, a huge thank you to all of you who have supported me by stopping to look or comment and I sincerely do wish you all a very merry festive holiday.
** I closed my Zazzle shop in March 2017.
It may be possible to detect a whiff of satisfaction since I’ve muffled that chattering inner critical voice.
I’ve realised that in order to appreciate my own work it is imperative that I wait a few days after completion to be able to stand back and look at it with fresh eyes…rather like getting used to a new haircut.
The fear of using watercolours is diminishing. First using only transparent pigments mixed with plenty of water enables me to lightly ‘map out’ the image. It allows for painting as many layers as I need to build up the impression of dimension.
Flat brushes instead of round were used in an attempt to introduce spontaneity, with charcoal and pastels for intensity.
I’m persevering with the same subject as before, my youngest step-daughter, Ruth.
- The ink version was all about the lines; a clean, graphic quality being appropriate.
- Although not exactly a whimper of a painting, I abandoned the watercolour portrait because, despite scribbling on it with pastels, it still felt too flat, rigid-as-a-stick and the edges were too similar. It didn’t excite me – it lacked those extra ingredients of chaos and energy that I respond to and there was none of the fluidity that only watercolour can deliver.
With this simplified version, the ‘unfinished’ appearance is entirely intentional (assume your “Oh come OFF it” face here).
Pablo Picasso described art as the eliminiation of the unnecessary and Claude Debussy stated that “music is the space between the notes”.
Simplify, simplify, simplify! Do more with less!
In this vein, I tried to embrace the blank spaces and make each mark count, obtaining a perfect image being less important than how the paint was applied. And what was left out. Yes, you guessed it, I’m making it up as I go along here.
This painting feels complete to me. And there are edges; some soft, some sharp and I may have even managed to lose some!
In keeping with the minimalist theme, I’ll end here and see myself out.