ACTIVITY A |
The mark used to make this painting is clear up close, as the brush marks of the paint are very visible. It can also be seen that it is not simply white paint painted on a black background, but both black and white paint is applied. The artist plays with negative space. | Like the painting to the right, the artist paints using both black and white paint, but in contrast to the other painting, the artists movements are broader and and the marks are thicker, giving it a more powerful energy. This painting also places focus on energy, space, and the pressure of the marks, as some are lighter than others. | There are almost no distinguishable marks, like those of a paintbrush, on this painting, and this in itself tells us about how the marks were made. After reading the plaque, I learned that Olitski created these marks by allowing the paint to soak into the canvas to purposefully eliminate all traces of the artist's hand. The elements Olitski works with are color and shape, and I chose to include this piece as one of my examples as I liked the interesting way mark making was approached. |
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This quarter we worked on recreating an Old Master’s work of art. I recreated “The Head of Leda” by Leonardo Da Vinci. To be honest, I’m really not pleased at all with my final piece, but I definitely learned a lot about Da Vinci’s mark making style. His marks are gentle and not overdone, which was something I had a difficulty with when working with the pen with the nibs and ink, which I had never done before. All and all, I think I learned what kind of technique I need to learn, and now the next step is actually learning and practicing it.
Ria Bakshi
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