Typically speaking, the two main categories of his work, oil and fresco are split between the beginning and end of his art career. In the beginning, most of his work was fresco, for that's when he worked with Franciabigio in a partnership. Later, however, his work more commonly consisted of oil on wood paintings, such as his famous painting Madonna of the Harpies. For his grander works, Del Sarto typically worked on a large scale, especially with the frescoes, with the one exception in this post being his self-portrait, which is considerably smaller than his other works. Shearman, John (n.d.). Andrea Del Sarto. In The New Encyclopedia Britannica. Encyclopedia Britannica.
Web Gallery of Art. The Web Gallery of Art, http://www.wga.hu/frames-e.html?/bio/a/andrea/sarto/biograph.html,. Accessed October 20, 2016. The Unofficial Guide to the Uffizi. The Virtual Unofficial Guide to the Uffizi, https://www.virtualuffizi.com/andrea-del-sarto.html, Accessed October 19, 2016.
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As of week three, I managed to complete the majority of the Old Master's drawing. Of course, there will be minor tweaks and adjustments that I will make as I continue to work and put the finishing touches on certain areas. For this week, the hardest part of working was definitely as I began to work on the abdomen area. As seen in the previous reference image of the sketch, the abdomen area is very diverse in its range of line quality which give the appearance of value. Due to this, it was very difficult to properly replicate the marks in the area, and I even have not completely finished working on the area. The main difficulty was attempting to darken the lines enough to convey the shadow of the area while also maintaining the integrity of the mark. In other exciting news, due to the fact that I was able to make a large amount of progress in completing the figure, I started filling the negative space with the searching lines of the original sketch, which I think makes the sketch look a thousand times better. As I further work on areas such as the abdomen and the shoulders I will also continue to add the searching lines, which I believe will only further to improve the appearance of the image. As of week two, the progress of the Old Master's drawing is coming along quite nicely. Unfortunately, due an irregular schedule at Maggie Walker, the time available for studio time was cut short, so I didn't get to make as much progress as I ideally wanted for this week. However, despite this slight hurdle, I am satisfied with how the drawing is developing. For a brief summary of what was completed this week, I started applying the medium, conté crayon, to the paper. I fully completed outlining the figure with the medium and have started applying marks to the lower part of the figure. Looking at the picture to the right, you can see that I have almost completely finished one leg and started a bit of work on the other one as well. By the next progress report I'd like to have finished the lower half of the figure while possibly starting on the upper half of the figure. The biggest obstacle I see in the future is working on the face since there are many divots and areas of different elevations, so making sure that the proper mark-making is on the face can be crucial to assuring that the sketch will end up looking correct. However, whether I am able to start the face this week will determine when I have to address this problem. Here to the left is a more zoomed-in picture of the full figure drawing so that the area of progress can be more plainly seen. Looking at this photograph, the individual marks are much easier to view, so you can better see my process in recreating the sketch. The majority of the marks in the original sketch are diagonal lines that are quite close together, but there are also some marks that don't seem to have a particular direction in which they are going, but these were most likely the pre-lines that helped to form the figure of the sketch. One of the harder aspects of drawing with the medium is constantly making sure that the medium has a sharp enough end that the marks can still be individually seen. If this sketch used shading to create a sense of value, then this wouldn't be an issue, but since the purpose of this whole project is to emphasize the individual mark, it is essential that the marks are distinct enough from each other to be easily recognized. Due to this, having to repeatedly adjust the crayon so that the sharp end is being used is simply a requirement of this project. This sums up the progress of this week, and I will leave you all with the fact that I am jealous that this figure has better calves than I ever will.
Looking here at the more close-up image of the text, the head and extended arm were a large issue, quite literally, as both were over-sized and caused issues with fitting everything correctly in the composition. Originally, the arm was much larger width-wise which pushed the discus out of the composition. Due to this I lessened the width of the arm and shortened it a bit. I was required to do the same thing with the head also simply for the purpose of maintaining the correctness of the image. In addition, I also began to practice with my medium of choice, conté crayon. This practice is documented in my sketchbook and consisted mainly of experimenting with the medium with line quality and mark-making. For the first post, my class is beginning an observational study/drawing of an old master's drawing. The primary purpose of this project is to focus on the marks made in the sketches of the old masters in the Renaissance. While these sketches were not particularly large, these drawings for the project will be proportionally enlarged significantly in order to further emphasize the mark making with the medium and make them easier to view. Though the scale of the sketch will be modified, all other aspects of the sketch will be kept the same, including proportion and medium used. The sketch I have selected to recreate is Study for the Baptism of the People by Andrea Del Sarto from 1515 in conté crayon. I chose this sketch, for I was attracted to the clear and deliberate mark making particularly around the legs and the arm in the background. In addition to this, I find the pose of the figure dynamic enough to make the process of recreation much more interesting. Pictured to the right is the reference picture I will be using during my process in observing the renaissance study. Del Sarto, Andrea. Study for the Baptism of the People. 1515, National Gallery of Victoria, Melbourne. Back to the Classics.com, http://www.backtoclassics.com/gallery/andr eadelsarto/studyforthebaptismofthepeople/ |
AuthorAs a student in the art department, all progress on future projects will be documented on this page. Archives
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