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jmkartworks · 4 years

Photo

A Portrait, Slant: https://ift.tt/3gKt5w0

Emily Dickenson is one of my favorite poets, but when she writes, “Tell all the truth, but tell it slant,” it’s frustrating to be able to follow only half of her advice. The problem is, there are a lot of truths; they are as innumerable as clouds in the skies. So it’s impossible to tell more than a little truth about even one of them, let alone to tell all the truth about each. On the other hand, telling a truth — but telling it slant — is a different matter.

Truth is especially knotty for portrait painters, because truth is not what most sitters pay for. Usually portraits are concerned with surfaces: is the dress. or the suit, fashionable? Does the painting convey the sitter’s social status? Equally important: is the portrait an accurate representation of the subject?

Eleanora di Toledo, Agnolo Bronzino

We can assume that this beautiful portrait of Lady Eleanora by Bronzino is accurate on all of these levels or he would not have been paid so handsomely to have painted it. Her dress, jewelry and her son are as important to the image as her face. The portrait reveals her likeness and her wealth. Her social status in the Medici court in Florence in 1545 is self-evident and needs no explanation.

But what if the subject is an elusive person by nature and his social status is not a concern? For example, of all my nine younger siblings, brother Dan is the most enigmatic. He’s smart, loving, adventurous, funny and generous, an ideal brother. He’s also deeply spiritual. But he’s not inclined to say much, so even when he was a child there was an aura of mystery about him, which has continued throughout his life. I wanted to paint his portrait and suggest his inner life. But how?

Portrait of Daniel – Oil/canvas – 43 x 72 inches.

One summer morning, I happened to see him reflected in a puddle of water on an asphalt driveway. Also reflected were the sun, and a tree and a corner of the house we grew up in years ago. Except for his shoes and the garden hose, everything was indistinct.

This was the “slant” I wanted. But in order for his indistinct reflection to make sense, i had to paint the shoes and the hose as accurately as I could.

Even so, many people who look at the painting often assume that it’s upside down and turn their heads upside down in order to make sense of it.

Portrait of Daniel – Oil/canvas – 43 x 72 inches.

I wish I could say this is a satisfactory portrait of Dan, but I don’t think so. It may hint at the complexity of his character, or perhaps more accurately at my inability to render that complexity in any depth. In other words, it’s more slant than truth. And Dan continues to be as enigmatic to me now as he was when we we were boys.

#johnmichaelkeating.com #blog #art #jmkartworks

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ydeneya · 5 years

Text

Month 1

Item completed Camicia

pair of handkerchiefs accessory

The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added. The extant example shows goes added to give the fullness in the body however the fabric I chose was wide enough that I could simply cut the width rather than add it in.

I have attempted to stay as true to the extant example as I could.

The pair of handkerchiefs were simply off cuts from the camicia, and some of the lace that was left over. It is seen in a number of 16th century portraits that ladies did use lace edged hand kerchiefs.

Items completed in month 2

Sottana with optional removable sleeves in the style of Eleanora di Toledo

Beaded girdle belt- accessory 2

This sottana serves multiple purposes. It will be worn as an under gown as it is padded and boned as a supportive layer to wear with the veste and giubonne over the top in the style Lavinia Fontana’s self portrait of 1575. The sottana can also be worn with it’s optional removable paned sleeves in the style of the portrait Eleanora di Toledo of 1545. This style of Sottana spanned a number of years and styles in the 16th century ladies styles, beginning as an under gown, then becoming a gown in it’s own right with removable, optional and interchangeable sleeves, and then it moved back to being an under gown again with the incoming veste and giubonne styles later in the century. I look forward to wearing this very comfortable gown with or without sleeves, and also under it’s over layers, it will be a very flexible addition to my ever growing renaissance wardrobe. The design and pattern was originally based upon an Alcega that I adapted over time to best fit my ample proportions ans alter over different gowns to be most comfortable but still in keeping with the period design, with it’s side back lacing being reachable and able to be laced on my own without assistance when necessary. The skirt on this gown was not cut with the additional side gores as per Alcega due to the minimal amount of fabric I had, however the skirt if still very full and in keeping with the style I was trying to achieve. The skirt has been hand gathered onto the bodice and carefully enclosed between layers as it was very frayable and was worried it may give way without support. The hem has been thickened with an added layer of felted wool and some beige fabric I had on hand. I have always found this to be very helpful in keeping moisture from wicking up skirts and also to keep skirts from wrapping around ankles causing tripping which I am inclined to do. Both the front and back of the bodice were boned and padded to given the nice flat stiffed look and be very supportive giving a good base for the over layers to come.

The sleeves were created by using a normal straight sleeves pattern which was divied into several pieces, cut and sewn together with it’s lining. These panes are then turned in the right way and ironed, then the long process of hand sewing these panes together and adding the beading at each catch point. There is also lace with hand beaded added at the wrists and the tops of the panes are gathered onto tapes and then again sewn to each other to create the scrunchy baragoni. The ties for the sleeves are made from folded hand cut silk bias tape, I prefer these on the sleeves not the gown,they also feature lovely cast brass aiglets from the style of the 16th century, these pass through brass rings sewn on the underside of the straps of the gown, making them very easy to put on and take off and very secure once on. The construction and beading of these sleeves took a lot of hand work and tie but they are certainly work the effort.

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Items completed month 3

giubonne with much handworking

accessories 3 Jewellery set consisting of two short necklaces, one pair of earring and a long coral necklace. One necklace to be worn with the sottana and sleeves option, the other two, being the real pearl and real coral ones, for the multi layered outfit. Earrings obviously can be worn for both

The third, but not final layer of my Lavinia Fontana inspired outfit is the giubonne (doublet) layer. It is based on a blend of a Alcega pattern and the waist coat pattern from the Tudor Tailor.I made a giubonne in last years IRCC and I started with that pattern but then I went on drafting several patterns to get this one sitting just as I wanted it to but without being overly tight as I find it too constricting due to health issues. It also needs to to be able to be buttoned up completed or left with the collar open depending on which style I am opting for on that day. For this outfit it will be worn collar open. The sleeves in the Fontana portrait are shown with quite full tops coming down to tight forearm so I added flare to my sleeve pattern and made the forearm into a style that is buttoned almost to the elbow.

The sleeve pattern was drawn up onto a piece of calico and I then drew the cutting pattern onto this. It features diagonal cuts in a star pattern and small holes in lines. It was difficult to make out the actual pattern from the portrait but this seemed fairly close. I cut the silk for the sleeves, NOT on the bias but on the straight grain this time. The three pieces were pinned down to a sheet of plywood and I cut the slashes with a small wood chisel, new so that it was very sharp. The small hole were punched through with a paper hole cutter I had in my kit from paper crafting days. It did not cut very well but enough that I could then careful trim the holes with small scissors. I then hand beaded small groups of seed beads into the middle of the slashing pattern. This was a very long piece of hand working but again very worth the time and effort. he more the silk has been manipulated during the sewing process the more the slashes and hoes have started to fray and open up showing the lovely cutting pattern and also the gold silk I used as a middle layer in the sleeves. The internal layer is simply a cotton. The cuffs of or the giubonne feature hand made slashed binding in the same silk as the body of the piece. this just gives a nice finish to the cuffs and reflects those shown in the portrait. the buttons for the sleeves and front are small pearl buttons carefully chosen to tone in with the ivory silk. This layer is very comfortable and I am glad I took the extra time to get the fit as I wanted it as another tight layer would have not worked for me. I am especially pleased with how the hand working had added subtle interest to this middle layer, those many hours were worth it.

The giubonne does not fit over the optional sottana paned sleeves these have to be removed when the outer layers are worn, so two outfits in one really depending on how many layers you want to wear.

The giubonne took a lot of my limited hand strength so in between layers I played making up the jewellery sets fro this outfit. I have a collection of jewellery making supplies which include old pieces that I pull apart and remake in renaissance styles. The necklace and earring for the sottana alone set were made in this fashion. I disassembled some items and played around until I got the look I was after. The short real two colour pearls and very long real coral pieces were simply strung from pearls and coral I bought for this particular purpose. They are strung on very strong wire to ensure no breakages.

I did begin on the put layer veste by starting the cutting out and making the hand cut bias for the edging.

So the final parts of my outfit

The overgown or veste- extra layer

the lace collared partlet – extra layer

the woven garters acessory 4

The outer most layer of this ensemble is the pinkish silk veste, with it’s two layered ruffled and pointed baragoni and very long hanging sleeves. This is a mixture of two portraits, the Lavinia Fontana one and one by Zuccari of alady seated in a yellow veste. The two portraits ar of a very close time frame and both artists were active in the same area so it stand to reason the styles are very similar, both have the ruffles but one has the long sleeves and the other the second row of baragoni, I have simply added both extra features into one gown.The Zuccari veste shows a loose back to the gown but it is hard to make out the fit in the Fontana portrait but it looks like a fitted back, for my own comfort and preference I have opted for the loose mongil style back as I already made this style and had previously drafted my pattern from one in Alcega I simple use this rather than reinvent the wheel. I had also previously mage the hanging sleeves and had a pattern for those saving myself a lot of time. Time that I sued to careful hand bead and attach the many many metres of trim that went onto this veste. The beading took a couple of days of many hours to complete but really made the trim much nicer. Again though the extra time and pain I put my hands through is well worth the effort and it really adds interest to the piece.

The baragoni themselves did not take too long to actually create. The ruffles were simple box pleated and the points were cut in half oval shape, sewn turned, ironed and more beading. I sewed the two layers together to stablise them before fitting them in the armhole along with the hanging sleeves, this did give many layers to sew through but thankfully my machine is made for the heavier duty sewing. This year I chose to completely line the veste and I hand sewed this lining in with invisible stitches. The body is lined with a cotton/linen blend that tones in with the silk, the handing sleeves are lined with a golden silk. All the edge seams also feature hand made and slashed binding. The top front of the sleeves have a hanging pearl where they finish in a point.

I had intended on make silk button for the veste but on making a few I did not like the ook of them, so I went rummaging around my stasha nad found some pearl cluster beads, caps and eye pins, and created 42 buttons for the front of the gown, As these are purely decorative they did not need to be be very strong. The gown is closed in front with hidden hooks and eyes.I really enjoyed hand making the buttons and already have plans to make more for future projects. The veste has very small openings in the side seams to allow the belt to be worn without holding the loose back in.

IRCC9 All the final write up Month 1 Item completed Camicia pair of handkerchiefs accessory The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added.

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netmyname-blog · 6 years

Text

Sarto Eleanora OK

New Post has been published on https://nerret.com/netmyname/sarto-eleanora/sarto-eleanora-ok/

Sarto Eleanora OK

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#Sarto Eleanora

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mesbeauxarts-blog · 13 years

Photo

Agnolo Bronzino. Portrait of Eleanora di Toledo with her son Giovanni. 1544-1545.

Oil on panel.

Galleria degli Uffizi. Firenze, Italia.

#agnolo bronzino #bronzino #mannerism #portrait of eleanora di toledo #eleanor of toledo #toledo #portrait #renaissance

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ydeneya · 5 years

Text

Month 1

Item completed Camicia

pair of handkerchiefs accessory

I have attempted to stay as true to the extant example as I could.

#gallery-0-27 { margin: auto; } #gallery-0-27 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-27 img { border: 2px solid #cfcfcf; } #gallery-0-27 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Items completed in month 2

Sottana with optional removable sleeves in the style of Eleanora di Toledo

Beaded girdle belt- accessory 2

The girdle belt took quite some time and patience to put together. It was created using some lovely almost cross style pieces with pearling on them, I had to visit both the local stores and buy all their supplies in order to get enough to complete the belt long enough. It is put together using eye pins and three glass pearls. The end is completed with a lovely pearled cross that I had on hand. The belt has a simple beak closure which can be attached at any point on the belt making it’s length variable as needed.These beaded girdle belts are seen through a number of portraits in the 16th century.

Item started month 2 but not completed

Silk Giubonne

Items completed month 3

giubonne with much handworking

The giubonne does not fit over the optional sottana paned sleeves these have to be removed when the outer layers are worn, so two outfits in one really depending on how many layers you want to wear.

I did begin on the put layer veste by starting the cutting out and making the hand cut bias for the edging.

Items begun in month 3 but not completed;

Extra layer Veste

accessory 4 garters

still to start partlet

So the final parts of my outfit

The overgown or veste- extra layer

the lace collared partlet – extra layer

the woven garters acessory 4

The partlet was actually fairly simple. I used my regular partlet, or I should be calling ti a coverciere, pattern. The lace was a wide lace I found in my stash. I hand pleated it and added temporary stitches to hold in shape, the ends I add some thin lave to give a nicer finish. The lace I box pleated onto the collar piece and sewed onto the partlet. The temporary stitces were then removed. The lace is stiff enough to keep the shape by itself. I am still not quite convinced I like how wide the lace is and might trim it in thinner in the future sometime but for now it is a lovely finish to all the layers of this outfit.

Although made last the partlet is worn under the giubonne.

The last item made was my final accessory, a pair of woven garters. I used my new inkle loom with some lovely silk thread alternated with some gold tone cotton. I created the pattern using an online inkle loom pattern generator which made warping the loom much easier. I used the silk as the weft thread as well, and as this was quite a thick thread the weaving was quite a lot quicker than I though only taking me a few days to complete. I sewed the weft thread back into the weaving to finish the ends off nicely. I did weave the whole warp in one go and the cut this in half to create two garters, I thought these would be long enough and they do work but I would like some slightly longer and will make another pair sometime in the future maybe. I do love the softness that the silk thread bought to these though and they are very comfortable.

The only day I had set aside to take my final portraits and it was teeming down with rain so we made the best of it and headed to the Arts centre which provided a nice background and enough protection so I did not get too damp.

I am so pleased that I finished this again, nine years! I look forward to next year being the tenth, and for me probably final, but who knows I may not be able to break the habit!

The entire IRCC9 write up Month 1 Item completed Camicia pair of handkerchiefs accessory The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added.

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netmyname-blog · 6 years

Text

Sarto Eleanora OK

New Post has been published on https://nerret.com/netmyname/sarto-eleanora/sarto-eleanora-ok/

Sarto Eleanora OK

Sarto Eleanora OK Top Web Results.

#Sarto Eleanora

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