In recent posts, we talked about Cezanne’s process. In particular, we talked about the process seen in Cezanne’s drawings. Yesterday, in figure drawing class, we looked at how Cezanne tends to make short marks when he draws. Those short marks accumulate into longer contours and form descriptions, but they don’t trap or the whole object in an outline, they only describe pieces of an object. The forms are sensitively described, but the outlines are broken, allowing the figure and background to connect. This method can be used as a way to open observational work towards abstraction.
The most challenging aspect of this drawing approach is to let go of the “thingness” or the object, and draw every mark – whether it’s a face or a tablecloth – with equal interest. Here are a few of the beautiful figure drawings inspired by this method, made in yesterday’s figure drawing class.
[image_with_animation image_url=”9204″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Yesterday I posted a fragment of a sculpture and asked you to guess when it was made and who made it. I worded my …
Welcome another selection of faves from our January 30SAL Creative Challenge. Day 5 and 6 the challenges were Venus de Milo, and Coptic. Day 5: Venus de Milo This challenge …
This is day 6 of our 30 day creative challenge! To learn more about this 30SAL challenge, click here. Take figures from the painting on the left and put them into …
Cezanne painted 29 portraits and made countless drawings of Hortense Fiquet. He drew and painted his mistress in graphite, watercolor, and oil. The first painting exists only in a photograph, …
Student Works: Abstracted figure drawings inspired by Cezanne
In recent posts, we talked about Cezanne’s process. In particular, we talked about the process seen in Cezanne’s drawings. Yesterday, in figure drawing class, we looked at how Cezanne tends to make short marks when he draws. Those short marks accumulate into longer contours and form descriptions, but they don’t trap or the whole object in an outline, they only describe pieces of an object. The forms are sensitively described, but the outlines are broken, allowing the figure and background to connect. This method can be used as a way to open observational work towards abstraction.
The most challenging aspect of this drawing approach is to let go of the “thingness” or the object, and draw every mark – whether it’s a face or a tablecloth – with equal interest. Here are a few of the beautiful figure drawings inspired by this method, made in yesterday’s figure drawing class.
Special thanks to our fabulous model, Hendri!
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