Jason Moorer - Post 5: Leah Tinari and Daily Drawing

Leah Tinari is a contemporary artist I’ve become fond of recently. I love her contemporary subject matter, her response to this sort of party culture with its social media connection. Here is her statement:

“My work has consistently been based on photographs of my friends and family. This show, Perfect Strangers, is exactly what the title implies—portraits of total strangers. The portraits show a broad range of ages and races, so there is no single contingent in this body of work. It is exciting to see the diversity of people who pass though a gallery in a month’s time. These portraits are clearly reflective of contemporary society, but also recall Renaissance paintings. The paintings have a strong primary color scheme, are dense with draped fabric, and the subjects have many layers of clothes and accessories due to the timing of the exhibition. There is also a self-consciousness to the subjects posing in front of the camera in the photo booth; the same self-consciousness I imagine a subject would have had posing for a Renaissance painter when his or her likeness was being captured. At first glance this seems far-fetched because the portraits are clearly contemporary portraits in every way, but if I sit with them for a little longer, I begin to think about the paintings by Titian and Vermeer. “

http://www.leahtinari.com/

This drawing is a study of a collage I posted last week. I've always wanted to do these paintings of my peers, contemporary figures, hipsters and myself placed in antique, affluent and aristocratic environments.

Mariel Baldwin III

This first piece I did as a preliminary of a painting, however I prefer the drawing to the painting. I intended to minimalize my line work in areas of the portrait that aren't as important. With this in mind, the painting I did from this was suppose to be more imaginative. I think I almost prefer the suggestive qualities and less use of complex line work. 

This is a study I did for our Renaissance project. To make the piece more contemporary, I chose to work with a same sex couple instead of what the tradition would have been back then. It's still my intention to work closely with the original composition of the piece. It will just be a significantly more modern household. There will be a mirror behind the couple, either on a mantle piece, or if they're sitting down, directly on the wall behind them. This will give me the opportunity to play with a self-portrait composition. Because Van Eyck's portrait is not necessarily distinguishable in the original composition, this gives me more freedom to play with different set ups. 

Post 4

For my fourth drawing I chose to do a facial study of my self for the self portrait included into a painting project. The painting I chose was Vermeer's The Procuress an image of a prostitute, her pimp, and other company.Vermeer was a Dutch painter during the 1600's who is most widely known for painting beautiful, realistic portraits of women.This is one of his earlier works that shows off his skill dealing with compositions.

With this painting I wanted to link the image of the woman to the land and how we use both women and the earth to cultivate and grow. I will depict this by showing the pimp and other characters as farmers planting the prostitute in the ground, like a seed. The compisition and poses will be kept mostly the same with the addition of a bit more depth to fit into an expansive farm landscape. The character's wardrobes will be updated and features kept relitively similar. My protrrait will be in the place of Vermeer (far left).
-Heather

Jordan Post 4

The Last Judgment, as you all know is located in the Sistine Chapel. Commissioned to Michelangelo by Pope Paul III. The working process of The Last Judgment took place between 1535 and 1541and is located behind the alter of the sistine chapel on a grand scale.

When first ask to take on commission for the sistine chapel in 1508 by Pope Julius II, Michelangelo was overwhelmed by the scale and believed himself to be more of a sculptor than a painter. 

The wall tells the story of the second coming of Christ and the Apocalypse. The human race is being determined by that of Christ and selected saints. This is all evident in the painting. 

What I discovered through more research was that this piece was not only inspired by biblical references but also by mythology. Also what I have overlooked was that the various saints depicted are holding instruments of matrimony, instead of having actual scenes of torture. I was aware some of man kind are damned to hell upon looking, but failed to notice the instruments of suggested torture.

Of course years later there was a dispute over the figures being naked in a sacred place, later being covered by Daniele da Volteria.

My idea for my piece is to keep certain aspects of this painting for my transformation into a drawing. There is certain content I rather not include or perhaps may denounce. First, I am not a religious person, I at first was thinking of portraying a "God is Dead" message but concluded it wasn't my place to do so or even something I can say I have a great deal of care. Apparently this pieces scale and content was intended to be slightly fearful to represent gods power. Gods power is not of importance to me, however a large scale is something I would be interested to keep and am considering taking up a wall similar to that of the Sistine Chapel (Using paper as we discussed). 

Looking up all the different areas of the painting such as Christ is in the center, his gesture suggests that he is damning a large part of humanity to hell while some rise to heaven.  The Madonna is depicted in fear. St. Bartholomew who is holding both the flayed skin portrait of Michelangelo and a knife is suggesting his own fate. (St. Bartholomew was flayed alive). St. Peter who holds the gold and silver keys represents Pope Paul III (the commissioner) etc.. I thought about all the different ways I could go about this, I disregarded portraying celebrities because that was never anything that I had any interest in. 

What I was most interested in working with is idealization. These figures of the 1500's, whose bodies are described as "heavily muscled and tortured", comes from a style likely stemming from the idea of perfection from mythology. To bring it into contemporary times, I would like to portray my figures into 2012 idealization, making everyone look as if they walked out of a magazine, using media as my reference for perfection. Perhaps other aspects of todays society as well. I really liked the idea of portraying clothes instead of a portrait of myself to suggest and represent materialistic values of todays society. I am still considering whether or not my figures should be clothed or unclothed, so I am thinking perhaps I should do them unclothed and then decide to cloth them later..

Above are a few drawings on a single piece of paper with sharpie I have done, not at all intending to be realistic this was more for fun but gives the idea of clothing and content I have worked with in my past

I just came across this drawing online, I don't necessarily like this figure but I found the lighting inspiring. Unlike my other drawings, I would like to attempt something similar to this to further investigate and show more of a sophisticated representation.

Ben post 4

For this weeks weekly drawing post i decided to post some sketches i've done for paintings, and a side fun piece showing the influence graffiti has on me. I love the intertwining and mathematical sense to graffiti and the overall look to it. The sense of rhythm and style is also another big attribute to graffiti that i try to carry into my fine artwork.

Sara: Post IV

I have a carelessly designed apartment, one example of this is the fact that I have no closet in my room. The bar that I hang my clothes/towels on is directly over my bed and when I wake up in the morning, the towels are the first things I see. I think the abstract shapes they create are interesting... I wasn't sure if the sweatshirt hanging behind the towels would ruin the abstraction of the drawing, so I just sketched it in lightly.

Catherine Murphy is an artist who makes photo-realistic drawings and paintings and never uses a single photographic reference. She is obsessive with detail to the point where she will often wait days, months, or a year for the correct lighting situation in which to continue a painting in. I enjoy the seemingly random and common subjects she chooses to depict as well as the "alloverness" of her compositions.

Drawings 1,2,3

These are my first three drawings, the first of which illustrative and based on elements and nature, while the other two are more traditional drawings. -Heather Fisher

2,3,4

Sorry, I've been confused on what i logged into turned out i made a different gmail account then the schools and forgot what it was. But here are some drawings that I used as studies for paintings in the last few weeks. They're are works in progress.

This one i feel is more successful then the other.

These are a few of the studies i did for the upcoming drawing we have been working on.