This is everything, beware!
The head has a weight about it, it speaks of character, it is composed of parts, yet not made of them.
The parts come later to add detail. Heads are noble and powerful.
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| Head of an Arab – John Singer Sargent | Head of Michelangelo’s David |
Before drawing it, ask yourself, is the nose:
Straight, Aquiline, Retrousse, Snub or Hawk
Here’s an fun take on one of my favorite paintings. I’d love to see the original painting in person. Everyone mentions it’s scale and well it’s controversial to boot! Someday I shall get to the Louvre.
An illustrative painting, it was based on real events, illustration as painting or vice-versa. Lots more information at the Paintings Wikipedia Article.
Click the images below for larger versions.
As Patrick mentions in the comments, seems The Pogue’s lampooned the image as well for their LP Cover – Rum, Sodomy & the Lash, in 1985. I could not find a larger or cleaner version, but here’s the image from their website.
I don’t quite know what it is, his work just makes me stop, look and wonder. They fascinate me.
Images culled from various online galleries linked below, see them for more of his paintings:
Here’s an interesting development on an earlier post of mine.
An artist named Sarah created a replica of Damien Hirst’s Diamond Skull, covered with 6,522 Swarovski crystals and dumped it outside the gallery in the middle of the night on top of a pile of trash. I can only imagine the reaction of the first person who saw it. Here are some photos of it outside the gallery.
“One may recognize the latest work and the earliest, as well as the successive styles between, as one man’s uses for art. That is not to account for them. Painting offers itself unaccounted for, uninterpreted, unexcused. Freud’s rather few remarks about art in general set store by the defiantly inexplicable spell that the image arts achieve at their peak. The viable, surefooted, impenetrability of his persona is intended. Again, one is now unaccustomed to a daemon like this in the polite community of the visual arts, but in the past art was full of such people. This is how the young men of the Renaissance must have been, with their eyes on anatomy and the main chance, on the street corners at evening when the botteghe came out and the virgins were hurried indoors. I have been able to confirm rather few even of the relevant details of Lucian Freud’s childhood and how he came to painting. There is no evidence for most of the circumstances, least of all the highly coloured ones, that have been described. These myths were not Lucian’s myths.”
From Lawrence Gowing, “Lucian Freud”
Click the image for a very large detail of this painting, his brush strokes are phenomenal. You’ll have to scroll to close the large image, but it’s worth it!
