Sunday, March 29, 2015

Pompeii No.49: "Assembing" the Left Ignudi

Charles Dempsey, George Braziller
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!

Charles Dempsey, George Braziller
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.

click to enlarge
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!
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16 comments:

  1. When it comes time for my official portrait, I know where to commission! Especially if you give me a six pack!

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    1. I will be happy to oblige. Perhaps you should be personified as Mercury.

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    2. Dear Columnist, You may not be aware of it, but your own blog is not allowing comments.

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  2. Hello Mark, You were obviously intended to become a plastic surgeon. A great job of solving all the intricacies of adapting the Carracci to your project, while adding that touch of Ruffner wit. I am looking forward to meeting this figure's complement.
    --Jim

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    1. Hello, Jim,

      I actually did feel a little like a plastic surgeon as I determined how much to trim off in so many areas of the origianl figure. In fact, it did occur to me that the proportions of Carracci's exaggerated figures may very well have taken into account that they would be viewed from below and at a distance.

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  3. Mark I am truly amazed by your artistry and love this ignudi!! It looks perfectly placed in this spot!

    xoxo
    Karena
    The Arts by Karena

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    1. Thank you, Karena! The next figure will be quite different from the first, and yet I will want to balance the two. All that blue drapery will help in that regard.

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  4. Hello Mark - Is the Carracci head from another mural? At first it took me some time to figure out the assembled extras. I am wondering if there is a symbolic reference with regard to the paint brush? Those curly locks would be the envy of many.

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    1. Hello, Rosemary,

      The Carracci head that I pasted onto the flipped reference is from another part of the same ceiling, but I looked at four or five contemporary profiles for the features of the final painting. The paint brush is one of my own, and while it does not have significance beyond that, it will be pointing to the subject of a painting that's going to be added soon.

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  5. I want a portrait with a six pack, too. And lots of curly hair :) Very handsome - well done, Mark!!

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    1. Thank you, Loi. I am starting to realize that I have missed my calling!

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  6. I most especially love what you did with the hair, Mark.

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    1. Hi, Yvette — Though this wall is an homage to Annibale Carracci, I have also been drawing upon Michelangelo for inspiration and reference. Michelangelo tended to simplify hair and I can understand why, because he was foremost a sculptor. Where other artists might see strands of hair, Michelangelo saw — even in his paintings — sculpted locks.

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  7. Dear Mark, I'm speechless. It's those pink body parts.

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    1. Dear Gina, I don't know if my next posting will leave you speechless, but perhaps it will make you laugh.

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