In a recent V. Note I talked about how artists study works by other artists. Transcriptions are like artist’s notes, recording selected aspects and observations in an artwork. Sometimes they serve as a jumping off point for artwork in completely new direction. Transcriptions are not copies.
For a commission, Frank Auerbach transcribed Titian’s ‘Tarquin and Lucretia’ into two works of original art.
Titian’s ‘Tarquin and Lucretia’
Study after Titian I Frank Auerbach
Study after Titian II Frank Auerbach
Which way up?
The Tate posted ‘Study after Titian I’ in two different orientations, and TotallyHistory has it in a third. Which way is up? I took my best guess and posted the work above with the gold on top. What do you think?
Titian’s ‘Bacchus and Ariadne’
Titian’s ‘Bacchus and Ariadne’
Auerbach’s studies of Titian’s ‘Bacchus and Ariadne’
Auerbach based these studies and the painting below on Titian’s ‘Bacchus and Ariadne’. Adapting the figures, trees, and clouds of the original painting into a bold network of marks, Auerbach records the powerful sense of energy and movement in the original work. (Tate)
[image_with_animation image_url=”8653″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] Image above from Urban Sketchers Chicago Chris Harvey has a lot of long straight architectural lines in his painting, and no matter what …
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Auerbach’s Transcriptions after Titian
In a recent V. Note I talked about how artists study works by other artists. Transcriptions are like artist’s notes, recording selected aspects and observations in an artwork. Sometimes they serve as a jumping off point for artwork in completely new direction. Transcriptions are not copies.
For a commission, Frank Auerbach transcribed Titian’s ‘Tarquin and Lucretia’ into two works of original art.
Which way up?
The Tate posted ‘Study after Titian I’ in two different orientations, and TotallyHistory has it in a third. Which way is up? I took my best guess and posted the work above with the gold on top. What do you think?
Titian’s ‘Bacchus and Ariadne’
Auerbach based these studies and the painting below on Titian’s ‘Bacchus and Ariadne’. Adapting the figures, trees, and clouds of the original painting into a bold network of marks, Auerbach records the powerful sense of energy and movement in the original work. (Tate)
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