Examining In Masters’ Paintingss3.amazonaws.com/drawspace/pdf/z03.pdf · In Masters’ Paintings...

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IInn MMaasstteerrss’’ PPaaiinnttiinnggss Brenda Hoddinott

Z03 ADVANCED: DRAWING ON THE MASTERS The primary goal of this brief research paper is to investigate Renaissance portrait lighting, and apply any knowledge gained to reference photographs and a quick sketch of a contemporary composition of a model dressed in medieval garb.

This article is divided into the following three parts:

Researching Lighting and Composition: Lighting and composition are so closely linked that it’s almost impossible to talk about one without the other. Examples of Renaissance and early post-Renaissance portraits explore a few of the diverse roles of lighting and composition in the visual communication of ambiance, form, and spatial depth.

Applying Renaissance Composition to Photos: Research has given me numerous ideas that are translated into reference photos of my model.

Capturing Light in a Composition: I render a rough sketch with help from various reference photos to demonstrate my proposed composition.

This lesson is recommended for anyone with an interest in Renaissance art, as well as home schooling, academic and recreational fine art educators of advanced students.

7 PAGES – 17 ILLUSTRATIONS Published by Hoddinott Fine Art Publishers, Halifax, NS, Canada - 2007

Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott.

E-mail [email protected] Web sites http://www.finearteducation.com and http://www.drawspace.com

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Lighting and composition are so closely linked that it’s almost impossible to talk about one without the other. This section of the paper uses examples of Renaissance and early post-Renaissance portraits to explore a few of the diverse roles of lighting and composition in the visual communication of ambiance, form, and spatial depth. A less tangible but significant aspect of composition for portraitists, employs the use of clothing, body language, and facial expression to create an ambiance appropriate to the artist’s emotional vision for his or her work.

Creating the illusion of a three-dimensional space on a two-dimensional surface was a major innovation of the masters of the Renaissance. Artists discovered how to transform shapes into forms by identifying highlights and shadows, and translating them into light and dark values. Hence, lighting became an integral aspect of composition.

Johannes (Jan) Vermeer used various techniques, including perspective, chiaroscuro and overlapping, to create numerous levels of depth in his works.

In Figure 01, a beautifully balanced painting illustrates lustrous natural daylight contrasted with deep rich shadows. A female figure in a blue dress is turned toward what appears to be a window, with her face tilted in the direction of the artist. The artist is seated in an ideal position to paint the highlights and shadows on the young lady’s face and dress.

Figure 01: Jan Vermeer, The Ar t of Pain t ing , 1666, o i l on canvas.

What is probably the most famous of Jan Vermeer’s works is a powerful example of how a similar lighting set-up also works beautifully for a head and shoulders portrait of a young girl.

A broad range of graduated values from very light to black accentuates the various forms of her face and clothing. The lower section of her headpiece overlaps her back, thereby enhancing the illusion of depth. The dark simplicity of the background serves to pull the figure into the foreground, and focus attention on her face.

Figure 02: Jan Vermeer, Gir l wi th a Pear l Ear r ing , 1660 – 1665, Oi l on Canvas.

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Figure 03: Andrea Del Sarto, Portrait of a Young Man, 1517, Oil on canvas.

Figure 04: Rembrandt, An Officer, 1629-1630, Oil on Wood.

Figure 06: Holbein, Hans the Younger, Portrait

of William Warham,

Archbishop of Canterbury, 1527,

Oil on oak.

The white fabric of the man’s sleeve in Figure 03 is depicted in shadow, an effect that draws attention toward the bright upper section of his shirt and onto his face.

Beyond rendering correct facial proportions, being able to portray an accurate perception of light and shadows is integral to achieving a likeness to an individual.

The highly detailed painting of the light and shadows in the facial sections of Figure 04, demonstrates a delicate approach to lighting which seems to soften the facial features of the elderly man. By examining the locations of the highlights and shadows on his face, it becomes apparent that the dominant light source is from the left.

The dark values of the hat and clothing outline the upper and lower facial sections, thereby bringing the focus to the face. The hard shiny metal contrasts sharply with the soft fabric and feather of his hat, creating a paradoxical insight into his persona; his age implies frailty but his stiff posture depicts strength.

The paintings in Figures 05 and 06 have similar lighting and composition.

Figure 05: Bartolomeo Veneto, Portrait of a Gentleman, 1512, Oil on panel






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The eyes of the model in Figures 07 are looking toward the light; a brilliant philosophical strategy. A portrait without direct eye contact provides a non-intimidating opportunity for the viewer to explore the face in detail.

Figure 07: Albrecht Dürer, Portrait of a Young Man, 1521, Charcoal drawing on paper.

My research has provided numerous insights into the lighting and composition used during the Renaissance. In addition, I have had the opportunity to study fascinating aspects of facial expression, posture, background, and accessories that can be used to create relatively authentic period artworks.

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My research has given me numerous ideas that I can now translate into reference photos of my model. The following aspects of lighting and composition from Figures 01 to 07, will integrate nicely into sketches, studies, and eventually an oil painting of Lord Algernon:

Figure 01: I used natural daylight from a large window on a slightly overcast day. The light is coming from the left as in Vermeer’s painting.

Figure 02: I improved the illusion of depth by overlapping Lord Algernon’s left arm in front of his body and the sword in front of his right leg. I also plan to use a similar background.

Figure 03: I will darken the values of the sleeves so as to bring more attention to Algernon’s face, as in Sarto’s portrait.

Figure 04: I will attempt to depict the subtle nuances of light and shadows on Lord Algernon’s face, so as to enhance likeness. His hat and clothing will frame the upper and lower sections of his face and neck.

Figure 05: I plan to crop the lower section of the composition slightly and include both hands.

Figure 06: Algernon’s face is tilted toward the artist, but his eyes are looking into the light as in Albrecht Dürer’s drawing.

Figure 07: The flesh tones and warm hues of the clothing in this painting will work beautifully when I begin my oil painting.

I set up my model, who is fully dressed in replicas of medieval garb, in a seated position in front of a brightly lit window. The resulting photos integrate the aforementioned aspects of lighting and composition.

I’m a firm believer that there is no such thing as having too much visual information about a drawing or painting subject. Hence, artists are wise to take numerous photos, and whenever possible work from life for the rendering of fine details.






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Figure 08: Primary reference photo of Lord Algernon.

Figure 09: Close-up view of Lord Algernon’s face, hat and collar.

Figure 10: Detail of shadows on right hand and ring.

Figure 11: Detail of left hand and ring.

Figure 12: Detail of the doublet’s fabric, button, and trim, as well as the jewelry.

My two primary reference photos (Figures 08 and 09) demonstrate the implementation of lighting and compositional techniques from the paintings and drawings previously discussed.

Figures 10 to 15 provide additional visual information about the effects of lighting on more intricate aspects of my subject, such as the hands, sword, clothing, and jewelry.






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Figure 15:

Detail of the

shoulder of the

doublet and the gathers

in the upper

sleeve.

Figure 13 and 14: Details of the handle and blade of the sword.

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Light is not a tangible medium, but it has a huge influence on the viewer’s perception of depth and physical space. Based on my examination of hundreds of drawings and paintings, I have come to the conclusion that an ability to see and translate light into a drawing, is an artist’s most valuable tool for creating the illusion of a three dimensional reality.

Light has always existed; however, the artists of the Renaissance were the pioneers who discovered how the multifaceted qualities of light affected the world around them. Subsequently, they explored methods of communicating their visions to viewers through the languages of drawing and painting. From a technical perspective, this sensitive and poignant drawing by Albrecht Dürer simply demonstrates the addition of white paint to a dark prepared surface to enhance highlights. The highlights serve to identify the light, which is from the upper left.

I attempted to look into the genius of the artist, and found myself questioning his motive for using that specific lighting. I expect to continue examining this drawing from time to time, in search of insights into Dürer’s thought processes when planning the compositional lighting.

Figure 16: Albrecht Dürer, Head of the Twelve Year Old Christ, 1506, brush and ink.






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I render a quick sketch with help from the various reference photos to demonstrate my proposed composition. My primary goal is to use the light source to communicate both sensitivity and strength in the face of Lord Algernon.

I used red chalk on Arches 140 lb. hot pressed, 100% cotton, watercolor paper that had been darkened with a diluted wash of sepia ink, to enhance the planned heightening.

Shading is rendered with diagonal hatching lines. White chalk created the light values on the face, hands, and clothing.

Figure 17: A loosely rendered sketch that demonstrates basic composition and lighting.

My research provided numerous ideas for capturing period composition and lighting in my reference photographs. However, in addition to using these photos, I will also need to work from life to render additional details.

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Chalk: is a drawing medium derived from various natural sources, such as hematite, carbon, and calcite.

Chiaroscuro: refers to the technique (introduced during the Renaissance) of balancing contrasts of light and dark values, so as to create the illusion of a three dimensional reality on a flat surface.

Heightening: refers to the technique of applying a light pigment, such as white chalk or gouache to sections of a drawing so as to enhance the illusion of form.

Life drawing: refers to the process of drawing from an actual object or living being.

Renaissance: derived from the French word rebirth, refers to the diverse changes that occurred within European culture from the early 14th to the late 16th centuries.

Rough sketch: refers to a visual notation of an idea that is quickly rendered to illustrate the important elements of a subject with very few details. Sketches can capture lighting, establish values, suggest proportions, and/or arrange the major components of a composition.

Technique: refers to a well-defined procedure, such as chiaroscuro or perspective used to accomplish a specific effect or ambience.

White chalk: refers to either calcite (or calcium carbonate) or soapstone, that is applied to drawings to lighten sections and/or accentuate highlights so as to emphasize form, mass, and volume.






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Books: Braham, Allan. Dürer. London, England: Spring Books, 1965

Buck, Stephanie. Masters of German Art: Hans Holbein. Cologne, Germany: Konemann Verlaggsgesellschaft, 1999

Eichler, Anja-Franziska. Masters of German Art: Albrecht Dürer. Germany: Konemann Verlagsgesellschaft, 1999.

Hodge, Jessica. Rembrandt. London: PRC Publishing Ltd., 2001

Mitchell, B. Great Artists: A Treasury of Paintings by the Masters. Toronto: W. H. Smith, Marshall Cavendish Books Limited, 1987

Perard, Victor. Anatomy of Drawing. New York: Victor Perard Publisher, 1934

Teiche, Jessica and Tracy Barr. Da Vinci for Dummies. Indianapolis, Indiana: Wiley Publishing Incorporated, 2005

Zollner, Frank. Leonardo da Vinci: Sketches and Drawings. Taschen, 2005

Websites: www.artmuseums.harvard.edu/sargentatharvard/drawingglossary.html

www.clemusart.com/butkin/html/3804852.html http://www.wga.hu/index1.html

http://arthistory.about.com/cs/arthistory10one/a/high_ren_2.htm

www.portfoliostep.com/390.1TerminologyDefinitions.htm

www.worldimages.com/art_glossary.php

www.georgetown.edu/uis/ia/dw/GLOSSARY0816.html

www-personal.umich.edu/~alandear/glossary/t.html

ecosurvey.gmu.edu/glossary.htm

www.artsconnected.org/artsnetmn/spaces/vocabulary.html




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BBrreennddaa HHooddddiinnootttt

As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints.

My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and

academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable.

>Brenda Hoddinott<

BIOGRAPHY Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”.

Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites.

Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world.

LEARN-TO-DRAW BOOKS Drawing for Dummies: Wiley Publishing, Inc., New, York, NY, this 336 page book is

available on various websites and in major bookstores internationally.

The Complete Idiot’s Guide to Drawing People: Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.





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