SERVE: HUMANITY
Size: 13x18cm Medium: Dry Point Date: October, 2016 This piece was created along with the block print piece, on a series about angels, warriors of God. This piece explores the concept of a fallen angel, one who's broken through the essence of a dutiful soldier, one who has decided humanity over heaven. It was inspired by the painter Ingres |
Process
Planning sketches
|
The dry point sketches varied much more than the block print. The most essential part of it was the stance, and it varied between broken but still retaining a sense of strength/warrior-sensibility, distraught, and completely broken. I decided on the last, because it gave the sense that something had been ripped away from the figure; his grace. I see this as the most painful thing a being could go through. |
Carving
The carving process was relatively short and easy. It involved taping the glass to the drawing and tracing all the lines. I am very familiar with the cross-hatching shading technique, and it's the one I prefer most in my traditional drawings, so it was easy to transfer this onto my carving. The wings were worrisome, since some spots were unnaturally deep compared to others, but I worked to even these out. The wings were done with random undefined lines to suggest movement and direction in the shape of traditional wings; the wings aren't there, they are implied. The last split decision I made was to make a faint halo on the ground by the two feathers, which didn't turn out in the final print.
|
Printing
The printing process was messy and longer than I anticipated. First, I put the paper in water. This would stay in for 7-9 minutes Next I covered my plate in the dry-printing ink, making sure the ink was inside all the lines I made during carving. The longest and messiest part of the process was next, using paper to rub the ink off the rest of the plate. Once I was confident this was done with I put the paper and the plate together in the etching press, rolling it under. This created my print. I did this twice before being satisfied with one of them.
|
|
Experimentation
Research
Before doing my dry point I researched angels and my artistic inspiration. I directed my research on angels to how they were originally portrayed in the bible, in terms of presence and purpose. I had some prior knowledge that hinted that angels were in fact warriors, contrast to what much modern media says. This was confirmed: I learned that angels, while not having an actual physical form that the human can perceive (rather they have a localized presence), have the ability to appear as humans. Their purpose were as messengers of god, to protect/guide/provide for humans, to answer prayers, carry out executions, and worship. Angels also engaged in combat, most notably the war that was led by Lucifer. They are sadi to have a very strong, awe-inspiring presence, that would often strike fear in those who saw them. All of these things were pout into my block print. As for my dry point, I took all of these into consideration and did the opposite; a fallen angel, broken, bare, and entirely human.
For my artistic inspiration, I simply researched Ingres's influences at a painter. His traditional religious themes influenced my block print more directly, but his work in anatomy still held strong in this piece.
For my artistic inspiration, I simply researched Ingres's influences at a painter. His traditional religious themes influenced my block print more directly, but his work in anatomy still held strong in this piece.
Artistic Inspiration
My artistic inspiration for this piece was the neoclassic painter Ingres. Immediately I was drawn to the anatomy in his work; his paintings were very precise, and he had many anatomy studies in the form of sketches. He belonged to the neoclassicism movement, which was a revival of the classical style/approach to art, which explains the traditional approach to the body, composition, lighting, pose, etc. that he has in his art. Ingres's talent when it came to portraying the body, especially, made him famous. He, like many painters of the same time, had many religious themes in his work. these are products of the cultural influences of the time and place (Italy/France 1780-1867). Ingres also painted angels in some of his work, but the characteristics associated with his portrayal didn't influence me as much as his anatomy did. My own interest with the body and being anatomically correct definitely resonated with his work and the second theme that I chose, anatomy.
|
Reflection
This piece was, overall, successful. Creatively I feel that it conveys exactly what I intended, alone or paired my block print. There are many signs hinting to what this being is or once was, the position the figure is in conveyed the right feeling I wanted about broken. I considered having the stance where the figure was kneeling, giving a sense that they had been taken from & beaten down to their knees, yet retaining a rigid spine, in soldier-fashion. I went with a much more obviously expressive pose, and I think the choice was better in suggesting a change from such a powerful being into a human, with emotions and pain that an angel could never have experienced before.
Technique wise I think I achieved what I wanted in terms of anatomy and crass-hatching for the shading. I believe there are still parts in my final piece that could have been darker or more defined. In other prints where these were darker there was slight spotting in some places, or the lines would be less defined. I think there's a happy middle that I could have shot for. I also put in an implied halo below the figure, where the two feathers lay, but in my final print this was almost entirely lost. going back I think this would have added to the piece, especially as a stand alone, and I would have made this line deeper so as it would show in the printing process.
Technique wise I think I achieved what I wanted in terms of anatomy and crass-hatching for the shading. I believe there are still parts in my final piece that could have been darker or more defined. In other prints where these were darker there was slight spotting in some places, or the lines would be less defined. I think there's a happy middle that I could have shot for. I also put in an implied halo below the figure, where the two feathers lay, but in my final print this was almost entirely lost. going back I think this would have added to the piece, especially as a stand alone, and I would have made this line deeper so as it would show in the printing process.
ACT questions
1) Clearly Explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork.
My artistic inspiration influenced my heavily in terms of the body and pose of my figure. Having Ingres, an expert on the body, encouraged me to study the body carefully while designing my piece.
2) What is the overall approach the author (from your research) has regarding the topic of your research?
The author of my research of my artistic inspiration approaches Ingres in an unbiased way, looking to explain some of his life and influences, as well as what made him important as a painter.
3) What kind of generalizations and conclusions have you discovered about people. ideas, cultures, etc. While you researched your inspiration?
I had a lot of assumptions about cultural influences of the time, with the overpowering presence of religion in society and the views of nude figures in art. This was affirmed by the research source, describing his life and giving insight into cultural influences and how controversy impacted his life.
4) What was the central idea or theme around your inspirational research?
It was understanding the cultural influences of Ingres and the most important parts of his work pertaining to my theme(s).
5) What kind of inferences did you make while reading your research?
I assumed a lot about cultural influences of the time, with the overpowering presence of religion in society and the views of nude figures in art. This was based on things the source stated and previous knowledge.
My artistic inspiration influenced my heavily in terms of the body and pose of my figure. Having Ingres, an expert on the body, encouraged me to study the body carefully while designing my piece.
2) What is the overall approach the author (from your research) has regarding the topic of your research?
The author of my research of my artistic inspiration approaches Ingres in an unbiased way, looking to explain some of his life and influences, as well as what made him important as a painter.
3) What kind of generalizations and conclusions have you discovered about people. ideas, cultures, etc. While you researched your inspiration?
I had a lot of assumptions about cultural influences of the time, with the overpowering presence of religion in society and the views of nude figures in art. This was affirmed by the research source, describing his life and giving insight into cultural influences and how controversy impacted his life.
4) What was the central idea or theme around your inspirational research?
It was understanding the cultural influences of Ingres and the most important parts of his work pertaining to my theme(s).
5) What kind of inferences did you make while reading your research?
I assumed a lot about cultural influences of the time, with the overpowering presence of religion in society and the views of nude figures in art. This was based on things the source stated and previous knowledge.
Bibliography
Cartington Shelton, A. (n.d.). Encyclopedia Britannica. Retreived September 27th, 2016, from https://www.britannica.com/biography/J-A-D-Ingres
n/a (n.d.). Art Renewal Center. Retriever September 27th, 2016, from http://www.artrenewal.org/pages/artwork.php?artworkid=7125&size=large
The Vow of Louis XIII, 4.21 m x 2.62 m, 1820, Montauban, Cathédrale Notre-Dame © Erich Lessing
n/a (n.d.). Art Renewal Center. Retriever September 27th, 2016, from http://www.artrenewal.org/pages/artwork.php?artworkid=7125&size=large
The Vow of Louis XIII, 4.21 m x 2.62 m, 1820, Montauban, Cathédrale Notre-Dame © Erich Lessing