Fauvism Shoot

We set up the studio using taped up pieces of paper that we had painted to match the theme. We also had two spotlights to give the right amount of light to the models. We used simple primary and secondary colours and used the brushes dry to give specific brush stroke textures to the faces. With the second images, we used a white sheet and pinned it to the models clothes which allowed us to paint onto it, to reference the original image. This references the art movement as all the colours are similar and link to the theme. 

Compared to the original image, the first image is more abstracted and brighter. It is also more modern by incorporating the hands in the image. By the way the models faces are quite solemn and how cooler colours are used the images have a sad and solemn feel to them. However the second image seem happier. 

During the shoot we didn't really have any problems however, we had to adjust the lighting a little bit. We adapted our idea a little bit with the colours and with the props used on some of the imagery. I think overall the images link well with fauvism as they are very bright, coloured and abstracted. The colour scheme very clearly references fauvism art. 

The two images above are the most successful because the first is clearly detailed and very similar to the fauvism art, however it is more modern. But the second image isn't as modern however is clearly themed. If i was to do this shoot again, i would make the images have more of a modern twist. 

Fauvism Tests

In the group, we discussed using modern and more up to date objects to make Fauvism more interesting. We are referencing the original images by using the same primary and secondary colours and having the model positioned in the same way as the paintings, using big brushes and working wet on wet. It has been adapted to a modern audience by including modern objects. Making the objects modern worked well by using the same style as fauvism. A problem would be painting on the model as the paint drys very quickly meaning you have to work fast, however we overcame it as we used more paint so it stayed wet. For the shoot, we need to make sure the background matches the model and that it links well with the fauvism theme but is still modern. My role will be helping with painting the props and the model. We have planned to use similar positions to fauvism work and the same colours. 

19th Century Paint Developments

Paint Developments

This list of paint colours itemizes only the major additions. Many of the colours available during the 18th Century were still available during the 19th Century, as well as a wide variety of non-permanent plant colourants. They used blue pigments such as: Prussian Blue, Cobalt Blue, French Ultramarine (synthetic), Cerulean Blue, Mauve, Manganese Violet. Green pigments such as: Emerald Green, Viridian, Chromium Green Oxide, Cobalt Green. White pigment: Zinc White (Chinese White). Red pigments: Rose Madder, Alizarin Crimson, Mars Reds. Yellow pigments: Cadmium Yellow, Chrome Yellow, Aureolin, Zinc Yellow, Strontium Yellow, Lemon Yellow (Barium Chromate), Indian Yellow. Brown Pigments: Egyptian Brown (Mummy), Ashphaltum.

Oil-based paint was the common media during the 19^th Century. Oil paints were prepared with white lead, linseed oil, turpentine and pigment, with the finish – the degree of sheen – being regulated by altering the ratio of oil to turpentine. The use of linseed oil tended to yellow and change colours, especially whites, which yellowed quickly.

Even though new colours had started to be made, artists didn’t mix them, they would use them straight out of the tube.

Paints started to develop in storage techniques and metal tubes made it easier to transport and save.

Impressionism Artist Research

Impressionism Artist Analysis

Claude Monet

Colour:

I would describe this piece by Claude Monet as abstract, colourful and romantic. Monet’s piece is from the ‘Water Lilies’ series 1916 and is based around a scene of waterlilies. I think Monet has tried to create a more abstract perspective by using cool colours and warm tones to add specific detail. Giving people the chance to appreciate their surroundings more. Aspects of this piece are abstracted and some are distorted as such, because the details are quite blurred and not completely accurate like it would’ve been before the movement.

“Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact colour and shape, until it gives you your own impression of the scene before you.” – Claude Monet

Formal Elements:

Monet has used cold colours to show reflection of the water and shadows in the piece, however, he also used warm colours to differentiate between shadows and highlights. The piece looks quite textured as it would have been done quickly and roughly as he would be working outside and would have to paint quickly before the light changed. This means Monet would have to work with quick, rapid brushstrokes and dabs, which would leave the piece quite unsmooth and textured from the oil paint. The colour scheme consists of primary and secondary colours, as Monet wouldn’t have mixed the colours he would have used the oil paint straight from the tubes. The piece is harmonious as the colours all work well together and none of them stick out more than the others. The colours that mostly dominate are blue and green. In Monet’s piece the same techniques of dabbing and rough brushstrokes are continued throughout.

Process:

Monet’s piece was made using oil paints in fast brushstrokes and dabs with paint brushes. Monet creates areas of colour. Greens define the leaves, purples and blues the water reflecting the natural light, dark blues create shadows from the trees above, and pinks, oranges, and reds show flowers shining in sunlight. Monet’s work was made quickly as shown with the brush strokes, however, it could have also been over a period of time as he could go back to the same place when the light was similar. From the piece I can see that Monet is a skilled artist, as even though it is quite abstracted it is still very accurate and it takes skill to work straight from in front of you when the light never stays the same for long.

Mood/Meaning:

Monet’s water lilies, creates a romantic and calming feeling, as the colours used are mostly cool, however, the warm colours with the cool make the painting calm instead of sad as it adds the right about on highlight and warmth. The specific subject makes the piece romantic as it is a very beautiful natural scene. This piece has a lasting impression as it is part of Monet’s series ‘Water Lilies’ which is a culmination of his life’s work. Everything he had painted built up to his series of water lilies. Monet conveys this by making the series some of his best works.

Influences:

This relates to the theme and brief as Monet is a very famous artist for the Impressionist Movement. By researching this, I have learned that impressionism was all about braking away from traditional art. As a result of this, in the future I will try painting a scene whilst in direct view if it, instead of from images or secondary sources. 

Impressionism & Fauvism Research

Impressionism & Fauvism

Characteristics and key influences of the movement:

Impressionism & Fauvism are very similar. It is typically produced using oil paint, using coloured shadows, high colour and are typically dabbed instead of traditional painting brushstrokes. The pieces are usually on a white background, which makes the brighter colours pop. They’re produced by working in open air, which gives a greater awareness of sunlight and colour. This means, that the artists have to work quickly with rapid brushstrokes. If the amount of light changes, the artist will stop and go back another day when the lighting is similar.

All pieces have bold colours (reds, blues, greens, yellows, oranges) and are abstract. The style in which each piece is created, for example, rapid brush strokes and dabs, are all consistent within every piece. I would describe impressionism as abstract, romantic and colourful of mostly scenes. I would describe fauvism as abstract, bold and a unique take on art.

Impressionism originates from France in the late 19^th Century. It is aimed to show different perspective and emotion in art and is usually of landscapes, manipulated in colour but overall accurate to how the scene looks in person.

Impressionism artists include: Edgar Degas, Eva Gonzales, Monet, Auguste Renoir, Paul Cezanne.

Fauvism also originates from France, 1905 - 1910. It is characterised by strong colours and fierce brushstrokes.

Impressionism and fauvism art movements is the turning point in which art became more diverse and introduced further experimental imagery into society. 

ART HISTORY TIMELINE

Art History

3800 BC – Cavemen drew on cave walls and stone. They had limited resources as they wouldn’t have ‘paint’ of different colours, also they used symbolism and simple shapes and forms. 

3100 BC-300 BC – Egyptian art, Egyptians carved into stone to create hieroglyphics, to document their history and to embellish tombs of Pharos. They were big on sculpture as they built pyramids and tombs e.g. Great Sphinx of Giza.

8^th C-140 BC – Greek and Romans, introduced art containing myths and warriors and men, mostly sculptures carved into stone and rock. Sometimes pottery too, and all with stony natural colours and textures.

1,000 Years of Christianity – Christian art, focused mainly on the church and Jesus specifically. Expressed bible stories and scenes of Jesus, usually in old rustic colours.

1500 – More art focused on Gods around the world and bible and religious events.

1600 – Louis 14^th, when he ruled the French Court art was based around expressing how he looked to his people and giving himself a good reputation through how he looked. Artists at that time would work for the king, so they were influenced by their decisions and the art had to be to his standard to be recognised. 

Baroque Shoot Evaluation

Evaluation

To set up the studio i used a black back drop to give the same effect as the original painting. I turned off the lighting in the room and used a spotlight to give the amount of light I wanted onto her face. I used the camera set at 1/40 and angled as portrait. 

I used props, such as; a scarf, blue material and gold material to drape and tie to my model, linking back to the original image. I added a modern touch to the image by using makeup on the model and in some images using modern props such as an Iphone. 

The images are related to the baroque style as the models facial expressions are quite solemn and straight in most which was quite common to the time. The use of chiaroscuro relates also to the baroque theme. 

Getting the spotlight right was a problem, however moving the light closer to the model and positioning the camera differently easily solved the problem. 

I didn't have to adapt my idea as everything worked quite well.

I think that my images relate very well with the research and art movement as it is a recreation of Vermeer's 'Girl with the Pearl Earring' and the colour scheme and positioning clearly represents this. 

I think that this is my most successful image as the lighting is just right and you can clearly see the link between the original piece and my recreation. 

If I were to do this shoot again, I would experiment with different drapes and include jewelry to link further with the original.   

Baroque Test Shoot

 I am using Jemma as my only model. Inspired by 'The Girl with the Pearl Earring' by Vermeer. These photos are a modern take on the style and idea.

I used a modern scarf and bright materials to make it similar to Vermeers piece. The material worked well and stayed in place. For the real shoot I need to add modern makeup to give a more modern touch to the look. I need to bring in a bold lip to add definition and contrast.
My role will be the photographer and makeup artist. I have planned to take pictures from different angles and perspectives, some including snapchat filters to show the change from painting to modern photography.