Part 5.2: Research: Artists with Similar Styles and Approaches (Already Researched and Newly Researched)

From the preparatory work I carried out, I decided to pick out one or two favourite pieces from artists with similar styles to refresh my memory of them before delving into my own ideas, to see how they could influence or inspire me in my final piece.

Still Life, Basic Shapes and Fundamentals

I really like both styles used by these artists in creating these pieces. Both have been well calculated and proportioned before being filled in with detail, tone and depth. I can really see from looking back now what my tutor has tried to get across to me regarding not treating objects the same, using different pressures in different parts and the lack of necessity for there to appear to be a solid outline to objects, rather a contrast in the tones of each section.


Again, from revisiting these pieces and looking at the newly found Fig. 5., I can see what my tutor has tried to instill in me regarding layering my work, being more fluid with my lines and differentiating my planes. All of which are now more apparent to me than before and I feel able to appreciate the pieces in a much more educated way. Going forward, I would also like to attempt to recreate Morandi’s piece or a similar layered piece on an iPad to try to grasp this concept better.

Positive and Negative Space, and Mixed Media

Looking at the earlier research finding at Fig. 6., together with the more recent findings at Fig.7., Fig. 8. and Fig. 9., I can really see how I could make something like this work for my final chosen piece, whatever that will be. I particularly like the use of newsprint and a handwritten letter as the support, but also how in Fig. 9. the artist has used this to show the highlights and contours of the features in the subject’s face. I am particularly drawn to the eye in Fig. 9. with its subtle highlighting, but drastic impact. I also like how Fig. 7. shows only a ‘black and white’ contrast, with no definition or shading applied. The piece does look flat, but it is still very effective and the added white to the eyes really helps them stand out to draw the viewer in. These are all aspects I will bear in mind when creating my final piece.

The Human Form and Foreshortening

I am really glad to have found these pieces as they really do both call to me in some way. I love the fluidity of Fig. 10., but also the delicate expressive marks made in Fig. 11. Both of these qualities have been commented upon by my tutor as being a key focus to improve on, so I will bear these pieces in mind when I come to create my final piece for this Part.

Expressive Mark Making

Again, I really feel a connection to the way in which Moore works. Looking at both of these pieces, it is clear to see just how differently he can apply pressure and intensity to the pieces; Fig. 12. is quite heavy-handed and free in its movements, whereas Fig. 13. is much more delicate and controlled. This control over my more expressive nature and the need for a more accurate definition is something I need to focus on more when completing my final piece. I will aim to be free, heavy-handed or delicate and controlled as and when the piece calls for it, but I think this will be something I will have to give much thought to before undertaking the end piece to ensure I stay focussed and the piece does not become overworked.

The Human Form

Having only recently been introduced to these artists, I feel a little less connected to them than the older works researched. However, I can see how relevant each piece and each artist’s style is to me and my continued research and development. Again, the fluidity present in all of the pieces, as well as the subtle use of colours in Fig. 14. and Fig. 16. are definitely something to bear in mind and potentially replicate in my own final piece.

Trees and the Human Form Combined

Whilst Fig. 18. has been created in metal, I initially thought it was a line drawing. Regardless of the media used, both pieces use line, both dense and delicate, to create the structure, fluidity and depth of the pieces. Again, these are both concepts I want to include in my final piece.

List of Illustrations

Fig. 1. Giacometti, A (1927) ‘Still Life in the Studio’[Graphite] At: (Accessed on 26 November 2019)

Fig. 2.  Cezanne, P (1877/1881) ‘Wash Basin and Scent Bottle [Rector]’[Graphite] At: (Accessed on 26 November 2019)

Fig. 3. Morandi, G (1957) Landscape [Painting] At: (Accessed on 21 June 2019)

Fig. 4. Redon, O (c.1875) Two Trees [Charcoal on paper] At: Bridgeman Education (Accessed on 19 February 2019)

Fig. 5. Unknown (Unknown) ‘A Tree that Does Not Want to Stop Growing’[Unknown] At: (Accessed on 27 November 2019)

Fig. 6.  Durrant, Jessica (2013) Watercolour [Watercolour paints] At: (Accessed on 19 March 2019)

Fig. 7. Jovers, L (Unknown) ‘Drawing on Newspaper’[Drawing on Newspaper] At: (Accessed on 26 November 2019)

Fig. 8. Unknown (Unknown) ‘It Looks Like Someone had a Vision of a Human Tree’[Unknown] At: (Accessed on 28 November 2019)

Fig. 9. Nicolle, F (Unknown) ‘Unknown’[Mixed media] At: (Accessed on 26 November 2019)

Fig. 10. Hankin, J (2017) ‘Foreshortened’ [Photoshop] At: (Accessed on 21 August 2019)

Fig. 11. Hatt, F (2010) ‘Dynamo’ [crayons] At: (Accessed on 21 August 2019)

Fig. 12. Moore, H (1974) Sheep Resting [lithograph on paper] At: (Accessed on 22 August 2019)

Fig. 13. Moore, H (1974) Sheep Walking [lithograph on paper] At: (Accessed on 22 August 2019)

Fig. 14. Schiele, E (1914) Liegende Frau mit blondem Haar (Reclining Woman with Blonde Hair) [Transparent and opaque watercolour over graphite on paper] At: (Accessed on 2 December 2019)

Fig. 15. Giacometti, A (1961) Nude [Standing] [Lithograph] At: (Accessed on 2 December 2019)

Fig. 16. Dumas, M (2015-2016) Venus in Bliss [Ink wash and metallic acrylic on paper] At: (Accessed on 2 December 2019)

Fig. 17. Kramus (2010) ‘Tree Dancer’[Pencil] At:×7-1-191379972 (Accessed on 27 November 2019)

Fig. 18. Sun-Hyuk Kim (Unknown) ‘Intricate Metal Root Sculpture’[Sculpture] At: (Accessed on 26 November 2019)

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