Self Portrait
Take Care
Size: 91.5 x 91.5 cm Medium: Acrylic and Oil on Canvas Completion: October 2017 Exhibition Text: The intention of my painting was to stage aging and selfhood. It combines the elements of a double-self portrait with one of Picasso’s themes; mother and child, to show the connections between the young and old self that together impact a wholesome, singular identity. The style and format of this piece was inspired by both Egon Schiele’s Double Self Portrait and Pablo Picasso's Mother and Child In Kerchief. |
Inspiration
The concept of a double self-portrait was inspired by Schiele, as I found myself intrigued by two expressions of one person. Along with erotic, distorted and to some extent disturbing portrayals of people that Schiele is known for, following themes such as sex and death, he also produced an abundance of self portraits. He enjoyed the playful twists he found in the media and speaking to their misconceptions, but he was also a man who focused on evolution and change. In fact, Schiele was in favor of things like the advocacy for women's rights, equality of men and women during a time where men were still seen as the dominant gender role in society.
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I was specifically inspired by his double portrayal, the idea of self-hood and identity. Both Schiele's individual beings are of the same day and age as the other, a present reflection in each. Despite the sullen looks on his faces, there is something subtly intimate about the way that the two figures rest against one another, resembling support and unity. I was inspired to take this intimacy between self and self, and utilized it in my own self portrait. My initial thoughts were on using my current appearance at this point in time for both figures like of Schiele, until I came across some of Picasso's work. The utilization of multiple faces varying in age that depict the same person is ideally able to communicate the various attributes of a common body. The transformation of not only appearance but also the development of the individual themselves expresses how we not only reply upon our current self but also the various ages of ourselves that have gained experience, developed and influenced every change to our own existence.
One of Picasso's overarching themes throughout some of his pieces is of mother and child. He has made a variety of pieces showing the interaction between them, the special bond when raising a newborn -- but not always encompassing the joy. Upon becoming a father, it inspired Picasso to pick up this common subject matter. The interactions appear less sentimental and more filled with a sense of serenity. The combination of the young and the old inspired me to manipulate my double self-portrait, but instead of using multiple faces from present day, I used myself from two
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different stages of life; from youth and also from adolescence present day. In both Picasso's Mother and Child In Kerchief along with Schiele's Double Self-Portrait, the figures have rather calm, observant gazes. I decided to keep this consistent in my own work.
The younger and older portrayal placed together show not only my aging over time but the reliance I have on my own self and experiences.
Something else that inspired my choices in the creation of my self portrait was Picasso's Rose Period. This resembled a time in his life where his work evolved from the dark, somber tones used during his Blue Period to happier, more cheerful hues. The warmth of these reds, oranges, yellows, and pinks changed the mood of his pieces drastically in comparison. The greens and blues were lightened to look more airy and calm. However, although the vivid color schemes used during this period gave off a feeling of warmth, the images themselves did not have much other indication of positivity. The faces were rather expressionless or lacked the enthusiasm that the colors provided. Mother and Child, Acrobats by Picasso was created during the Rose Period. As seen above, the colors are rich and warm, while the content itself is less celebratory, especially regarding the facial expressions of the figures. I was influenced by the rich, on occasion almost more tropical scheme of colors of Picasso, and while still imitating Schiele's technique, I brightened the hues I used.
The younger and older portrayal placed together show not only my aging over time but the reliance I have on my own self and experiences.
Something else that inspired my choices in the creation of my self portrait was Picasso's Rose Period. This resembled a time in his life where his work evolved from the dark, somber tones used during his Blue Period to happier, more cheerful hues. The warmth of these reds, oranges, yellows, and pinks changed the mood of his pieces drastically in comparison. The greens and blues were lightened to look more airy and calm. However, although the vivid color schemes used during this period gave off a feeling of warmth, the images themselves did not have much other indication of positivity. The faces were rather expressionless or lacked the enthusiasm that the colors provided. Mother and Child, Acrobats by Picasso was created during the Rose Period. As seen above, the colors are rich and warm, while the content itself is less celebratory, especially regarding the facial expressions of the figures. I was influenced by the rich, on occasion almost more tropical scheme of colors of Picasso, and while still imitating Schiele's technique, I brightened the hues I used.
Planning
Below are the planning sketches and evolution of ideas regarding my painting inspired by Schiele's Double Self-Portrait and Picasso's Mother and Child In Kerchief.
Process, Technique & Experimentation
Before I could begin my painting, I had to build my own canvas. This required putting together a wooden frame, stapling the corners to ensure that it would maintain the shape of a square and not slide. From the large roll of canvas, I cut out a square just large enough so that the edges could fold over around the backside of the wood. I then folded these over, one by one, and used a staple gun to secure the fabric around the frame. The approach was to staple one of the four sides, then pull the material slightly taught and staple the opposite side. It was important not to have the fabric loose and sagging, but also not pull too taught, because later treatments to the fabric may cause it to become too tight. With then two sides left, either could be chosen since the are opposite to one another by default. Following the construction of the canvas, a base coat of gesso must be used to coat the entire surface. This must all be applied at once in a quick manner so that the canvas dries and tightens evenly at the same time.
Due to the face that I wanted a background base coat color but needed it to dry more quickly, I mixed up acrylic paints to create a few subtly varied shades of pastel salmon pink. To imitate the patches of value that vary on the paper Schiele used, I decided to create my own attempt at a rustic background using direction and line. After the paint dried I produced a larger final sketch. I scanned the image and downloaded it onto a laptop. From there, I was able to plug the laptop into a projector machine, bring up the scanned image of my sketch, and project it onto my canvas to trace.
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The people within the portrait I decided to create using oil paints. This was a form of experimentation for me, because it was my first time using them. I had to do research before beginning my piece, to learn to properties of the paint, how to take care of the brushes and dilute the colors. My color scheme was inspired by both Schiele's Double Self-Portrait and the work of Picasso, although more obviously connected to Schiele. My inspiration of blending techniques and application along with the positioning of figures came from him. Although I was aware that oil paints do not dry quickly and when blended with too many other colors can eventually turn brown and ruin the area of the piece, I created a dirty yellow for a base coat of the skin. Besides filling in the whites of the eyes (not combined with yellow, I allowed this to sit for a couple days before adding any other layers of color. The inspiration for my color scheme was adapted to mimic Picasso's Rose Period.
My goal for creating a technique using oil paints was to achieve a vague watercolor appearance. I wanted to avoid thick, bold lines of color or a thickness in paint layering. Paint thinner solvent, which is used to both thin the paint being used but also used to clean the brushes off. I would use small dabs of paint to create shades, and then continuously dip my brush in solvent, mix with the paint, then apply to the canvas. I started off with very light, pastel shades, and over time added darker and darker layers of the same hue. I would carefully overlap colors so that in a way it appeared that they bled into one another the way watercolor would mingle at the borders. However, there are still some patches of color that are bolder and less blended, which is also found in the style of Double Self-Portrait. As for the hair, I created groupings of same-color lines but with space in between them to create variation.
Reflection
*the blending techniques were a cross between inspiration from Schiele and Picasso. I incorporated Schiele's bolder use of color and patching texture to an extent, while also smoothing out the blending more so to correspond with Picasso's technique. The combination of methods causes it to be both a similarity and a difference when comparing to Schiele's work alone.
My self portrait is highly connected to my inspiration. I conducted experimentation by exploring a new media, using oil paints for the vast majority of the painting. While I was projecting my sketch and tracing the image, it was somewhat of a challenge. There were many interfering factors including not wiggling the canvas, not producing a shadow that interfered with the projection while lightly tracing in pencil the main structural and detail lines needed to outline the painting. I was pleased with the way the blending turned out in both faces. I was also able to add a roundness to the cheeks of my younger self, to emphasize the lack of development and how young I was.
My self portrait is highly connected to my inspiration. I conducted experimentation by exploring a new media, using oil paints for the vast majority of the painting. While I was projecting my sketch and tracing the image, it was somewhat of a challenge. There were many interfering factors including not wiggling the canvas, not producing a shadow that interfered with the projection while lightly tracing in pencil the main structural and detail lines needed to outline the painting. I was pleased with the way the blending turned out in both faces. I was also able to add a roundness to the cheeks of my younger self, to emphasize the lack of development and how young I was.
Something I also found as an interesting challenge was creating the eyes, and affirming similarities in shape so that one could better draw inference that the two are of the same person of different ages. While face size changes, features often remain relatively the same shape (nose, eyes, lips). It was enjoyable and yet a challenge to make visual similarities between both faces. Overall, I was pleased with the product of my self-portrait.
ACT Responses
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the positioning of figures, the blending technique and the facial expressions.
What is the overall approach the author has regarding the topic of your inspiration?
Schiele's approach to his paintings were to create erotic, unusual scenes or portraits of people. He also uses saturated, vivid hues to emphasize composition figures.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Many of Schiele's creations were underappreciated and seen as disgusting because he used uncommon themes like sexuality and death, in which his subjects are portrayed often in an erotic or starved manner.
What is the central idea or theme around your inspirational research?
The central theme of my inspirational research was portrayal of close relationships between mother and child, but also the depths of a relationship with one's self.
What kind of inferences did you make while reading your research?
Picasso expressed periods of his life that were dominantly sorrowful or more cheerful through the repetition of color schemes, also known as the Blue Period and the Rose Period.
I am able to identify the cause-effect relationship between my inspiration and its effect upon my artwork by analyzing the positioning of figures, the blending technique and the facial expressions.
What is the overall approach the author has regarding the topic of your inspiration?
Schiele's approach to his paintings were to create erotic, unusual scenes or portraits of people. He also uses saturated, vivid hues to emphasize composition figures.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
Many of Schiele's creations were underappreciated and seen as disgusting because he used uncommon themes like sexuality and death, in which his subjects are portrayed often in an erotic or starved manner.
What is the central idea or theme around your inspirational research?
The central theme of my inspirational research was portrayal of close relationships between mother and child, but also the depths of a relationship with one's self.
What kind of inferences did you make while reading your research?
Picasso expressed periods of his life that were dominantly sorrowful or more cheerful through the repetition of color schemes, also known as the Blue Period and the Rose Period.
Bibliography
“Egon Schiele Biography, Art, and Analysis of Works.” The Art Story, www.theartstory.org/artist-schiele-egon.htm.
Picasso, Pablo. “Mother and child in kerchief.” Pablo Picasso, 1 Jan. 1970, www.pablo-ruiz-picasso.net/work-3474.php.
“Pablo Picasso's Rose Period - 1904 to 1906 .” Pablo Picasso, www.pablopicasso.org/rose-period.jsp.
Picasso, Pablo. “Mother and child in kerchief.” Pablo Picasso, 1 Jan. 1970, www.pablo-ruiz-picasso.net/work-3474.php.
“Pablo Picasso's Rose Period - 1904 to 1906 .” Pablo Picasso, www.pablopicasso.org/rose-period.jsp.