I wasn't sure how to present this since it's 15 pages are too many for Blogger at one time, so I've photographed them in threes to get to that magic number 5.
This, of course, presents it's own difficulties with the text appearing so small and at times a bit blurred. Still it's the best I can do and I hope you are able to get the gist of what I'm talking about. I also know it's a lot of reading and you all have busy lives, but I wanted to show you what I had been up to instead of just sitting around pontificating into thin air.
You should know that when I first started this epistle I immediately set off on the wrong direction, concentrating on the sexual aspect of both Schiele's and Vettriano's images. Fortunately I realised in time that this was not what it should be about and quickly turned it around to focus purely on how they each created their figurative paintings. Phew! So here it is, hope you can read it by clicking each pic to enlarge:
It isn't as polished as I would like, and I may even have missed opportunities left, right, and centre, but when I read it again I am fairly satisfied with the content.
3 comments:
I've been coming by, lurking and reading, but not having time to comment until now. I'm very impressed with the work you are doing. You are thoughtfully and conscientiously reviewing and analyzing not only the artists' work but also your reaction to it.
Good writing too! You've acquired some wonderfully expressive mentors and I can see how Schiele has informed your work in a most excellent way!
Hope to see how your work appropriates elements from each of your influences. Keep going forward--don't let yourself lose momentum. The work is far more important than anything, including we virtual artists. We'll be here for the journey.
good stuff !
I don't know if he still does but I saw a programme on Vettriano and he said he used prostitutes as models and the 'hero' figure was always himself.
Thank you both for taking the time to read this and leave your comments.
Melinda: It was probably Schiele that turned me away from simply rendering what I saw to expressing how I felt about it. Vettriano, on the other hand, is an enigma to me.
Vivien: I'm not fussed who Vettriano gets as his models (we all have to make a living) but it's the way he obviously paints from his photographic images instead of directly from the model that depresses me. It's like "painting by numbers" and soulless as well as salacious!
(and I claim to be non-judgemental, ha!:o)
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