Archive for May, 2010

My First Paintings


Chuck Close

Self Portrait /2004-2005/102 x 84.5 in

Chuck Close, a contemporary painter, photographer and printmaker, started his career in the 1960s as a photorealist specialising in portraiture.  This context changed as he developed his technique which has gradually progressed to include abstract elements, abstract expressionism being another influence. 

Close works forming his art primarily with oil paint on grand canvases, some of his portraits scaling nearly 3 metres in height.  Up close to the canvas a pixellated pattern of abstract brushwork is viewed but, as you move farther away from the work, a form emerges and the portrait is revealed.  I have chosen to include Close in my exhibit for this reason as I am fascinated how abstract art is blended with figurative art.

To view Chuck Close Selected Paintings and Tapestries at PACE/WILDENSTEIN click on the link below


These are some of my paintings produced in the visual arts 5 week block

Acrylic on card

Brilliant Water Colours on water colour paper

Eye shadow pigment and fake blood on watercolour board for ad assignment

Acrylic on canvas

My first oil painting on canvas

dedicated to Rachelle, my small tribute to Tony, Your love was so obvious.

Some  more of my flower series, or that is what it has become, gold leaf this is my link. as tiny as it is to Klimt


The Musician /1929/ oil on canvas/ 161×96 cm

Tamara De Lempicka was well known for her portrait and figurative paintings of society people.   She used bright vibrant coloured oils painted on small canvases, normally under one metre in size, this being the form.  Lempicka was a fast worker, creating clean, precise and elegant works.  I chose this work because I like the soft cubist context and art deco style of the 1930s characterized by the use of angular forms.


Jule-Die Vron


Marlene Dumas/ Jule-Die Vron/ 1985/ 125 x 105cm

Marlene Dumas uses photographs of her subject to produce portraits that are never accurate versions but are extreme close ups bigger than scale, creating an image that is both representational and abstract.  This methodology also includes cropping and removing irrelevant background, taking the subject from the original context and stripping them of identity.   I like how her process includes severe close ups and how she eliminates surroundings in her work and have now been strongly influenced by her approach.


Bride and Groom of the Eiffel Tower/ 1938-39/ Oil on canvas

Bride with Fan/ 1911/ Oil on Canvas

Chagall was renowned because he relished and publically expressed his Jewish culture within his art work. 

The context of Marc Chagall’s work derives from his Russian/ Jewish heritage which gave inspiration and also subject matter. These include childhood memories of Russian village life and folk tales. His French influences which stem from his later life in Paris are also important. 

With a genre virtually of his own Chagall borrowed techniques and ideas from contemporary artists and pioneered a niche of his own as a modernist avant-garde/ figurative artist.  His magical dreamlike characteristics have associations with Cubism, Symbolism and Fauvism thus leading to surrealism.  

 I like that Chagall borrowed ideas from the different eras in art that he travelled through while still managed to maintain his own style.


Water Serpents11/ 1904-07 /Oil on canvas/80 x 145 cm

In Klimt’s work I like how you don’t immediately observe all the subtleties in the painting. These become evident as you look further.  I am fascinated how abstract patterns decorate the hair of the figures in the paintings and are woven into materials they wear, sometimes blending into the background and sometimes almost overriding the subject matter.  I like his methodology of using gold leaf within the decorative designs which accentuates the richness of the colours, giving the works radiance and reflecting light.  The overall effect and softness of the colours and the brush strokes used gives a romantic dreamy floating appearance.



Baal-Teshuva, Jacob. Marc Chagall, Taschen (1998, 2008)

Chagall, Marc. Marc Chagall on Art and Culture, editor: Benjamin Harshav. Stanford Univ. Press (2003)

Chagall, Marc, Sorlier, S, & Shepley, J, Chagall by Chagall, New York, New York Abrams, 1979

Chagall, Marc. My Life, Orion Press (1960)

Goodman, Susan Tumarkin. Marc Chagall: Early Works From Russian Collections, Third Millennium Publ. (2001)

Lewis, Michael J. Whatever Happened to Marc Chagall? Commentary, October, 2008 pgs. 36-37

Meyer, Franz. Marc Chagall, L′CEuvre Grave′, Paris (1957)

Wullschlager, Jackie. Chagall: A Biography Knopf, 2008


Susan Tallman, The contemporary print, pop to postmodern1996, 123-126

Mla close ready for his close up, art am 96 no3 Mr2008

Mla chuck close:recent paintings: PaceWilderstein, Mod Painters S 2005, 21/3/10,  21/3/10  , 21/3/10,21/3/10 , 21/3/10, 21/3/10

Dumas watch?v=9oJGwiEoj84


Fliedl, Gottfried, Gustav Klimt, Italy: Benedikt Taschen Verlag GmbH, 1998


Neret, Gilles. Tamara de Lempicka. Germany: Benedikt Taschen Verlag GmbH, 1993


Takashi Murakami’s methodology

Methodology from tutorial 2

Each creation begins as a sketch in one of numerous pocket-sized notebooks.

Full-sized drawings are then scanned into the computer.  From there, Murakami “paints” his work in Adobe illustrator, tweaking the composition and cycling through thousands of colours until at last he hands the finished versions off to his assistants.  His staff then print out the work on paper, silk screens the outline onto canvas, and commences painting.  Without this embrace of technology, Murakami says, “I could have never produced this many works this efficiently, and the work wouldn’t be as intense. Written by Jeff Howe quoting Murakami

Takashi  Murakami: Yoshiko and the Creatures from Planet 66

Yoshiko and the Creatures from Planet 66


Chuck Close -Part Essay

Big Self Portrait 1967-1968, a prime example of photorealism, was extremely realistic and meticulous taking Hyper-realism to a whole new level.

In this portrait he initiated his style which involves imposing grids onto his photographs.  At first the grids were very fine so they were not apparent to the viewer.  In Closes more recent work the gridded pattern has got bigger and remains in plain sight and is a feature of his work.  With abstract expressionist Jackson Pollock, there is no one focal point of the painting. Chuck Close’s painting is the same when up close. However, as you step back further from the enormous works, an image  emerges.

big self portrait 1968