Exploring the Portrait/Self-Portrait: Course Overview
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Exploring the Portrait/Self-Portrait: Course Overview

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A course taught by Glenn Hirsch at UC Berkeley Extension's San Francisco Downtown Design Center each spring. For more information, email glennhirsch@earthlink.net or visit ...

A course taught by Glenn Hirsch at UC Berkeley Extension's San Francisco Downtown Design Center each spring. For more information, email glennhirsch@earthlink.net or visit http://www.glennhirsch.com/id9.html

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Exploring the Portrait/Self-Portrait: Course Overview Exploring the Portrait/Self-Portrait: Course Overview Presentation Transcript

  • Exploring the Portrait & Self-Portrait Glenn Hirsch
  • Drawing the Head
  • Van Gogh before and after. He started the study of drawing as an adult, worked hard at it for years. Above we see his progress after the first 18 months.
  • Variety of line = "beauty" 'Searching line' - draw and redraw until you find what you want - this is what the masters did. In this Leonardo drawing, the baby's legs are drawn several times. Leonardo
  • Variety of line = "beauty" fast/slow thick/thin light/dark Leonardo
  • Variety of line = "beauty" fast/slow thick/thin light/dark What does the line say about character in this self-portrait? Complexity and strength! Jerry Giefer
  • Blind contour drawing is drawing without looking at the paper, an exercise to build sensitivity to pressure and speed, creating more variety of line (and beauty).
  • Gesture drawings - 60 second drawings on newsprint as a warm-up in which you gain practice quickly finding the orientation of the head in space
  • Gesture drawings. Practice describing the orientation of the head in space quickly.
  • Start the drawing by positioning the head as an oval ("egg") in space. The tilt of the head and the shoulders are sketched in before detail.
  • Imagine the head is an 'egg,' which direction is it pointing? Giorgio de Chirico
  • Imagine the head is an 'egg,' which direction is it pointing? Raphael
  • Imagine the head is an 'egg,' which direction is it pointing? Raphael
  • Body language The tilt of the head gives added interest to a portrait. Auguste Rodin, The Bust of Madame Morla Vicuna
  • Light and shadow on the face: -Eyes are in shadow; - The upper lip is in shadow; -There’s a 'ball' at the end of the nose; -The chin is rounded. Lucien Freud portrait of Francis Bacon
  • Anatomy reveals structure we study anatomy by drawing it memorizing the 'landmarks' which will guide us when we draw from life. study of Vincent Perez
  • The skull viewed from the front and lit from the side.
  • The skull in 3/4 view (the view in which you most often see it in life).
  • The skull in 3/4 view (the view in which you most often see it in life). Directional light from a single source helps to define the planes of the skull. Otto Dix, 1913
  • The boundary between the side of the face and the front. Raphael
  • The boundary between the side of the face and the front.
  • The boundary between the side of the face and the front. Robin Groesbeck
  • Painting the Head
  • The brush follows the contours of the head. The background cuts in and redefines the cheek. Glenn Hirsch
  • Glenn Hirsch, 1986
  • David Park, 1958
  • Paula Rego, 1980
  • Lucian Freud, 1983
  • skin color
  • Skin color depends on the color of the light. Elmer Bischoff
  • Skin color depends on heredity.
  • Skin color depends on the reflection of surrounding objects. (Skin is greasy so it reflects light.)
  • Skin color also includes subtle greenish hues. Peter Paul Rubens detail
  • Skin color also includes subtle greenish hues. Andre Derain
  • Portrait Concept Exploring the Portrait/Self-Portrait
  • “The highest aim of portraiture is to capture a fleeting moment of lifelike emotion.” – Rembrandt
  • Portraiture freezes a moment in time forever. Portrait of Eutyches c. 50 BC.
  • Portraiture freezes a moment in time forever. John Heisch
  • If portraiture freezes a moment in time forever, why paint? Why not use photographs? This is a huge black and white painting, not a photograph. What does the media - and the size - do to our perception of a 'portrait?' Pamela Bennett
  • For 30,000 years in Paleolithic caves, the face was taboo (there are no faces in the caves).
  • The earliest realistic portraiture. Portrait of Queen Nefertiti, 1450 BC The Egyptian concept of “beauty” was similar to “glamour” photography today – high cheekbones.
  • How many artists have worked in the tradition of the ‘selfportrait’? Anonymous, 1402 (detail from an illuminated manuscript in the Bibliotheque Nationale, Paris)
  • This is a detail of a larger painting. Renaissance artists often included their own portraits in larger work. Self-portrait by Botticelli (1476).
  • Rembrandt did 80 self-portraits, using them to explore technique (lighting & texture), as well as theatrical characters.
  • Artist self-portraits changed in the Renaissance with Jan Van Eyck in 1433 – In this painting, he asserts his authorship, his idea and voice; not a mere craftsman anymore, Renaissance artists made new claims for their art. (Note the towel on his head, he advertises his prowess in painting by painting drapery.)
  • 'Self-portrait in a hat' In this assignment hats can give you costume and a shadow across your eyes. Keiko Randolph
  • 'Personality' comes from the Greek word persona, which means mask. James Ensor, 1899
  • Frida Kahlo focused on self-portraits to explore dream, identity, and the imagination.
  • Each student selects a master to study in pastel and then the student does a self-portrait in the style of the master just studied. (Joy Stroehmann)
  • 'Self-portrait at home' assignment you in your surroundings. Elliot Glass
  • Self-portrait in a dream assignment "detail is the life of dreams.” Jane Willson
  • One of the assignments is a 'full body portrait' of a friend. Angela Pryor
  • Models pose in most classes. Here is a portrait of the model with imagined background (the sea). In portraiture, clothes are important too, they say a lot about character. Minh-son Dang
  • Painting of the model - posing in costume. Peter Demarest
  • Our models always pose in costume. (Vine charcoal.) Peter Demarest
  • Portrait of the model in pastel. There are many styles in art – students are encouraged to experiment when a model poses. Mike Dewey
  • Oil painting of the model posing in costume. Dan Browneye
  • Acrylic painting of the model posing in costume. In portraiture, clothes are important, they say a lot about character. Stephanie Lowe
  • Exploring the Portrait/Self-Portrait A course in drawing and painting the head.