Saturday, April 11, 2015

Pompeii No.50: The Right Ignudi

In Pompeii No. 49, I created an ignudi loosely based on ones by Annibale Carracci. Now it's time to create a companion piece to sit on the right side of the mural.

I've chosen to use this fellow as my basis; like the first figure, he's from the ceiling of the famous Farnese Gallery. My friend Sandy said, "You're not going to use that hair, are you!?" Oh, is it that bad? Well, perhaps he does have a bit of a bed-head.

As in my last ignudi, I will be adding new legs for a new posture.

Originally, I had thought of painting the draperies a different color from the last ignudi's, but because the two figures are somewhat unbalanced, I decided to have blue draperies on both sides of the mural.

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Sometimes I have trouble capturing the right colors in a room that does not have a lot of natural light, but the colors in this shot are very true to the  painting.

I've stylized the hair, and Sandy should be happy that it's not quite so windblown. I had fun painting the eye's reflection to match Carracci's image.

Notice that I have a different light source than the Carracci original. Mine conforms to my own mural.

The outlining was not typical of Carracci, but it was typical of Michelangelo. It's logical that I reference Michelangelo for this work, because Carracci himself did.

This image is a bit on the orange side, but I'm including the hand (at approximately 150% its actual size) to show that it's rather loosely painted.

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In this image of the living room wall, you can see how I've endeavoured to balance the figures by balancing the draperies, particularly as they extend out to the center of the wall to exactly the same length. The drapery on the right is also gathered at the end to balance the crossed feet on the left.

There will eventually be a neoclassic design element between the two ignudi, but the next stage of the mural will be to faithfully render a wonderful Carracci detail in the upper panel. That's coming up in the next posting.

Friday, April 3, 2015

24 Fantasy Eggs!

This posting requires a little explanation. For the last dozen or so years of my mother's life, I created a Christmas advent. Each advent was centered around a theme, and the most popular by far was a year of imagined eggs, each with an imagined history. They're all collages. And though these were originally a Christmas advent for her, they are now my Easter gift to you, my blogging friends. Let me know if you have a favorite.

Happy Easter!


Sunday, March 29, 2015

Pompeii No.49: "Assembing" the Left Ignudi

As I mentioned in the last posting, the two ignudi of my Carracci wall will both be loosely based on figures by Carracci. Just how loosely, you'll see momentarily!

I begin by finding a figure that has possibilities, and then flipping it 180°. My choice is informed in part by the realization that there is a wall directly behind where my left ignudi will go, and therefore the figure needs to either sit erectly, or lean forward, as this one does. But now I have a couple of problems:
  • Because this figure is at the left edge of the living room mural, it will be staring up at nothing, so I'll need to reposition the head.
  • Because the original Carracci fresco is so elevated, the ignudi feet appear to be cut off, so I'll need to add feet, or better yet, reposition new legs.
  • For all the beauty of Carracci's painting, the limbs of this figure are quite exaggerated. Can a body really be this muscular and still have such a big stomach? I'll need to put this fellow on a strict diet. No more pasta!
Here's a real Frankenstein for you! For reference, I've pasted a new Carracci head on the painted figure, then added a photograph of legs and the left arm. A special thanks to my friend Dave for being a good sport and modeling for the sake of art.

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Here's my version of the ignudi. The colors are true for the most part, though the purple of the base and the green below it are neither as dark nor as saturated.

Here you can see that the wall is rather textured in areas, and so I have simplified my job by smoothing out the surface in critical, more detailed areas.

Another ignudi is yet to come, and he'll be facing the one I've just revealed. I hope you'll join me for that reveal, too!

Sunday, March 22, 2015

Pompeii No.48: The Ignudi
Ignudi  (plural noun) From the Italian adjective nudo, meaning "naked."

When Michelangelo painted the Sistine Chapel ceiling between 1508 and 1512, he incorporated pairs of male nudes as pure decoration.
Their purpose was to support the shields, ribbons and huge garlands that framed the major, central frescoes.
Not everyone around the pope was thrilled with the figures because they (the male nudes) had no religious context and . . .

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. . . as you can see in my diagram, the 20 figures take up a considerable part of the design.

Michelangelo called his 20 figures "The Ignudi," and though he did not invent the word, he did — through this title — coin an art term. Countless artists like Annibale Carracci (whom I profiled in my last posting) also incorporated ignudi into their design schemes.
This is an ignudi by Carracci, one of many that he included in the ceiling of the Farnese Gallery.
These ignudi, by an earlier artist, are in another part of the Palazzo Farnese, in a room that served as the family boardroom. Here the ignudi are similar to the figures one sometimes sees on either side of a crest, below.

Heraldry: Sources, Symbols and Meaning  |  Ottfried Neubecker

This is the 1701 coat of arms of the King of Prussia. When seen in heraldry, figures such as these wildmen are called "supporters."

But I digress. The first stage of my Carracci wall will be an ignudi, very loosely based on one of Carracci's own. I'll unveil that in the next posting.

Monday, March 16, 2015

Pompeii No.47: Tragic Annibale Carracci

Annibale Carracci, from a self-portrait
As I mentioned at the beginning of this series, my version of Pompeii includes details that the Pompeians themselves would have recognized, but it also incorporates later interpretations of Pompeii. I think that my version of Pompeii has an eighteenth-century feel, with a nod to the Renaissance artists who were celebrating antiquity long before Pompeii was uncovered in 1748.

The living room portion of my Pompeii will have what I call the template of the original Pompeii Room (the columns and background panels that are the bones of the mural), but otherwise will have the look of the Renaissance. For the small living room wall, I'm incorporating the work of the master Annibale Carracci, shown above.  |
On the left, above, is a pastel portrait of Carracci, and on the right is Carracci's Portrait of a Lute Player, c. 1593-94, doubtlessly a self-portrait.

Annibale Carracci (1560-1609) was born in Bologna to a working class family and at a young age he was apprenticed to a goldsmith. He was forever drawing, and before long he was studying art with Barolomeo Passerotti, a successful Bolognese artist of the day.

Annibale was a great admirer of Michelangelo and Raphael, but also studied the works of northern Italian and Venetian masters. His subject matter ran the gamut ...
... from mythology and classical antiquity ...
... to religious works ...
... to landscapes ...
... to genre art.

Carracci developed a style of naturalism, or realism, that he blended very successfully with classical art, and it was a revolutionary and popular direction for his time. In the 1580s he and other family members founded the Carracci Academy, where his "idealized realism" was taught.
In 1595, the very powerful Cardinal Odoardo Farnese called Carracci to Rome, to decorate the Palazzo Farnese, shown above.

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First Carracci painted the Cardinal's private study, then several years later, the ceiling of the famous Farnese Gallery, shown above. It was the Cardinal's idea to portray the gods of Olympus and all their loves.

Carracci, much influenced by Michelangelo's Sistine Chapel, painted the ceiling to look like a combination of framed paintings and supporting sculptures, though it is all fresco work.
Carracci, for all his brilliance, was a timid soul. He dressed poorly, was shy and prone to stuttering. If you look up Cardinal Farnese on a site like Wikipedia, he'll be credited for having been a patron of the arts. That is true, but he was also a cruel taskmaster who enjoyed mocking Annibale's handicaps at every turn.
When the glorious ceiling was finished, the cardinal paid Carracci only 500 scudi for his years of work which, by my research into 1600's currency, was probably a lot less than minimum wage — a huge, vile insult.

Another personality — a Michelangelo, say — would have sought recourse, and probably exacted revenge, too. But Carracci was humble, and Farnese, descended from a pope and royal houses, was very, very powerful.

Carracci reacted by falling into a deep depression from which he never recovered. He suffered a stroke, quit painting altogether, and soon died.

The Farnese Gallery itself was a huge triumph and a standard for all other artists for many years thereafter.

Carracci by Carlo Maratti | pinterest, beardbriarandrose

Annibale Carracci's contemporaries realized that he had forged a new direction in Italian art, and buried him in the Pantheon next to his hero Raphael. Today, Carracci's work is considered a bridge between the Renaissance and Baroque periods.

I'll be borrowing elements from the Farnese Gallery for my living room wall, so I hope you check back for upcoming posts!