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fairy-writes · 11 months

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Hey

Congratulations on a big figure, if you don't mind, I will become reader number 901

Can I ask you for an event Noe from vanitas no carte from - 14 “The universe loves a stubborn heart.”. I think this phrase is very suitable for him 🤔

THE UNIVERSE LOVES A STUBBORN HEART

Reblogs and Comments are greatly appreciated!!

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Fandom(s): The Case Study of Vanitas

Pairing(s): Noé Archiviste x Gender Neutral!Reader

Prompt: “The universe loves a stubborn heart.” (Dialogue Prompt #14)

Notes: This is before Noé and Reader get together :)

ALSO, FLORIOGRAPHY IS MY JAM

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He was back at it again.

The mysterious boy whose name you still didn’t know.

He was back at your little flower shop, perusing the flowers with fingers holding his chin, violet eyes scanning the petals. He was your age and dressed immaculately in a pair of pressed white trousers that matched his hair, a black button-down, and a vest with a long white overcoat over his arm.

He had been here for the last five days, sometimes with his raven-haired friend, who looked less than pleased to be there. Occasionally, he would have a little book in hand, flipping through the pages whenever he stumbled upon a flower he didn’t recognize.

Every time you approached him, he’d get flustered and hide his book, saying he was “just looking for now” and didn’t need any help.

Eventually, he approaches you, a question in his eyes and a friendly smile on his lips.

“What do these flowers mean?” He asks, and you look up from your inventory book, taking in the small bouquet of flowers in his hand.

Apple blossoms. Preference.

Pansies. You occupy my thoughts.

Together? Thinking of you.

“Apple blossoms mean preference. Pansies mean you occupy my thoughts. Together they mean thinking of you.” You explain, and the young man nods as he takes in the information. His smile turns warm.

“I’ll take them!” You smile and wrap the flowers up in a silken ribbon and some brown paper.

“Are they for a special someone?” You ask, and his brain seems to stall before his cheeks flush, and he shrugs,

“Something like that.” He says as his fingers brush yours while taking the bouquet. You smile at him, and his cheeks darken slightly,

“How much do I owe you?” He stutters, and your own smile widens,

“It’s on the house. Consider it a thank you for brightening my day.” You say, and he looks like he’s about to say something when his friend calls loudly from the door that he’s waiting to leave.

The bouquet shows up on your flower shop porch a day later. Tied in the same silken ribbon and sitting pretty in a glass vase that looks like a swan.

Was it from him?

Part of you hoped so.

It was safe to say you had a little crush.

You didn’t see the young man for weeks after. But another bouquet shows up six days later.

A gathering of lilacs, tulips, and buttercups.

Lilacs. “First love.”

Tulips. “I declare my love for you.”

Together they meant being in love for the first time.

You hoped it was him.

The young man shows up in your shop three weeks after purchasing the flowers and (hopefully) dropping them off on your doorstep. He looks sheepish, ruffling a hand through his alabaster strands and removing his white tophat. He sheds his long overcoat and leaves both his hat and coat on the new coat rack you had just installed.

“Back again?” You say, and he freezes, almost tripping over his step.

“You remember me?” He asks, and you grin,

“You are pretty memorable.” Is all you say.

He meanders through the shop and picks out a few flowers before returning to the front counter with his choices.

Buttercups. “You are radiant with charm.”

Cowslips. “Winning grace.”

Together they meant “Newfound affection.”

You hold back a flustered smile as you wrap up the flowers and hand them to him.

Only for him to hand them back.

You pause, confusion evident on your face, and the young man turns his head away to hide his flushed cheeks.

“They’re for you. You know what they mean, right?” He mumbles, and your flustered smile erupts onto your face.

“Yes. I know what they mean. But why?” You ask, and he turns to look at you, obviously fighting the blush warming his face.

“I was hoping… well… I was hoping to take you out to dinner sometime… If you’ll let me.” He says, and you have to stop yourself from squealing.

“I don’t even know your name.” You find yourself saying, and his eyes widen before he smacks his forehead. You flinch at the action and almost drop the flowers.

“My name is Noé Archiviste. May I have your name?” He replies, and you bury your mouth in the flowers to hide the smile growing. You introduce yourself, and he smiles that smile that got your heart racing when you first saw him.

“And what makes you think I’ll accept Mr. Noé Archiviste?” You tease, and his smile turns mischievous.

“Well… I’ve heard that the universe loves a stubborn heart. And I would really really like to take you out somewhere. Even if it’s just a night on the town one time.” He says, extending a hand to you.

You find yourself taking his hand, almost hiding your face in the flowers when he raises your hand to his lips and presses a gentle kiss to it.

“How does tonight sound?” You say and he grins,

“Perfect.”

#noe archiviste x reader #noe x reader #the case study of vanitas noe #vanitas no carte noe #noe archiviste #noe #vnc noe #vnc noe x reader #fairy writes #fairy 900 followers #fairy writes 900 followers

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azapofinspiration · 2 years

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Kiss Kiss Fall in Love (OHSHC AU)

Just some thoughts and headcanons on a Vanoe Ouran High School Host Club AU that I probably won’t write but want to get out of my head.

So…

Vanitas (who aims to be a doctor) manages to get a scholarship into Altus High School, an elite academy for the rich

He can’t afford the uniform so he’s allowed to dress as he wants (which is whatever he can find that he likes in the house)

He was trying to find a quiet place to study when he encounters the Host Club, a wonderful mix of the some of the most beautiful and rich kids at school

These members are as follows:

Jeanne, Principal Ruthven’s ward and a well known martial artist who feels obliged to do as Ruthven directs her because he helped her when her parents died (cute yet sporty appeal)

Dante, club treasurer, an illegitimate child made legit for inheritance purposes (who knew Vanitas from middle school before he was taken in) (a rugged sort of appeal)

Amelia Ruth, in charge of organizing the club’s treats and costumes and is the adopted daughter of a hotel conglomerate (girl next door/domestic appeal)

The twins Dominique and Louis (with Louis as VP), children of a high level politician and whose completely opposite personalities (except when it comes to teasing) adds to their appeal

Individually, Domi is the flirty outgoing type while Louis is the cool type of appeal

And President Noé Archiviste, sole heir to the Archiviste fortune and ward of the school chairman (basically a natural with a princely appeal)

Anyway…

After accidentally breaking a vase, Vanitas has to do chores and run errands for qthe club (which he’s surprisingly good at even as he complains)

Then Noé gets the idea of him being a host

But due to Vanitas’s androgynous appearance, he thinks Vanitas is a girl (at first)

Dante knows the truth the whole time but still goes along with it, getting Vanitas set up with a girl’s uniform

Others slowly realize and Noé’s the last to know

Unfortunately, by that point, all the customers think Vanitas is a girl so he has to keep up the ruse. Dante’s not let anyone get a refund or claim they lied to them

Since his life isn’t as horrific or traumatic here (though there was some crap in his past), Vanitas legit doesn’t care what gender people think he is as long as he can take care of his debt and leave these stupid rich people behind him

Cue shenanigans as Noé and Vanitas fall in love and they have to deal with many incidences

Other notes:

Johann is sometimes called the club’s Sugar Daddy; he’s Dante’s bf and pays top dollar to exclusively see him

Riche is also allowed to see Dante because they’re friends but she often comes to see Amelia as well

Astolfo hates the Host Club and vows to bring them down

Olivier and Roland are teachers at the school; Roland is actually the Host Club’s advisor

Luca often tries to visit from the middle school to see Jeanne, once tries to fight Vanitas for Jeanne due to a misunderstanding

Luna is Vanitas’s adopted parent and the one who taught him the true meaning of being gender

Misha and Vanitas met in their previous (bad) foster home; Luna adopted them together when Misha raised a fuss about them eventually being separated after they were taken out

Luna is ecstatic about Vanitas’s involvement in the club, glad he’s making friends and doing more than just working on school

Misha is wary of the club and hates Noé due to the clear internet brewing between him and Vanitas and fears he’ll take Vanitas away (even though he knows Vanitas hopes to study abroad at some point)

Vanitas does all the cooking and chores at home because Luna is hopeless at it and Misha is a child and doesn’t want to learn

Domi and Louis have always had some issues with sharing Noé but Vanitas coming into the picture makes them confront this

Jeanne first gets a crush on Vanitas after he helps her out but as she notices his feelings for Noé, she becomes his wingwomen instead and finds herself falling for Domi as they start hanging out more

And that’s all I have for this. I just wanted to sort of let this all out because I’m busy with other stuff but let me know what you think.

I will say that part of this came from me imagining Vanitas going, “Damn rich people,” whenever everyone else gets over the top.

Also, from imagining the scene where the gang visits Haruhi’s house with Vanitas and the others.

Specifically with Noé accidentally falling on top of Vanitas and then Misha walking in right after and proceeding to fling Noé off him to check on his brother.

#vanitas no carte #case study of vanitas #the case study of vanitas #vanoe #Vanoé #vanitas #noe archiviste #noé archiviste #vaninoe #noevani #ohshc au #just a fun thought #that I wanted to get out #vannoe

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atozearth · 9 months

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Still Life Painting: A Deep Dive into History, Techniques, and FAQs

Still life painting, often considered a simple yet profound art form, offers a chance to appreciate the beauty of everyday objects. From fruit arrangements to vases filled with flowers or a collection of antiques, still life paintings capture moments of stillness and simplicity. In this post, we'll journey through its history, share essential techniques, and answer some common questions. History of Still Life Painting Still life painting, as a distinct genre, dates back to ancient times. Ancient Civilizations: The earliest examples can be found in the frescoes of ancient Egyptian tombs, depicting food items that the deceased might need in the afterlife. Middle Ages: The genre went dormant during the Middle Ages when religious themes dominated the art scene. However, elements of still life could be found hidden within larger religious or historical works. Renaissance: The rebirth of interest in the natural world and classical art in the Renaissance revived still life painting. Artists began to appreciate the potential of everyday objects as subjects, and the depiction of these objects became a study in form, texture, and light. 17th Century: The Dutch Golden Age marked a peak for still life painting. Artists like Jan Brueghel and Willem Kalf portrayed lavish banquet tables and intricate floral bouquets with astonishing realism. Modern Era: The genre evolved further with the likes of Cézanne and Picasso, blending abstraction with realism, challenging the traditional norms, and infusing deeper meanings and symbolism into their works. How to Start with Still Life Painting 1. Choose Your Subject: Start simple. A solitary object, like an apple or a vase, can provide a strong foundation. As you gain confidence, you can introduce more objects or complex arrangements. 2. Setting Up: Use natural light when possible. Position your subject near a window and use white boards or sheets to reflect or soften the light. 3. Composition: Arrange the objects to create balance. Think about the 'rule of thirds' and experiment with different placements until you find a pleasing composition. 4. Observe and Sketch: Before diving into painting, spend some time observing your setup. Sketching can help you understand shapes, shadows, and relationships between objects. 5. Painting Techniques: There are various methods to approach a still life painting: - Layering: Start with a thin underpainting and gradually add layers. - Direct Painting: Paint in one layer, refining as you go. - Gridding: Use a grid to help translate the scene from your source to the canvas accurately. Having delved into the history, and techniques surrounding still life painting, it's only fitting we further unfurl this artistic tapestry. The profound art of still life painting offers more than just static representations of objects; it’s an exploration into the soul of everyday life. Symbolism in Still Life Throughout history, artists have used still life to communicate deeper meanings: - Fruit: Often a reminder of life's fleeting nature. A ripe fruit might symbolize the peak of life, while a decaying one can signify the inevitable passage of time. - Clocks and candles: Used to represent the passing of time and the fragility of life. - Skulls (or Memento Mori): A reminder of mortality, common in 17th-century vanitas paintings. - Books, musical instruments: These might symbolize the pleasures of life or the transient nature of knowledge and fame. Influential Still Life Painters While we've touched upon a few key figures, the world of still life painting boasts an array of maestros: - Giorgio Morandi: Known for his muted color palettes and repetitive subjects, Morandi's paintings are meditations on simplicity and form. - Juan Sánchez Cotán: A Spanish Baroque painter who created strikingly minimalist and somber compositions, such as his famous "Quince, Cabbage, Melon, and Cucumber." - Paul Cézanne: While mentioned previously, it's worth noting that Cézanne’s innovative approach to form and color heavily influenced 20th-century abstract art. The Modern Still Life In the age of photography and digital art, where does traditional still life painting stand? It remains a beloved genre, with artists finding new ways to reinvent and reinterpret it: - Photorealism: Artists like Ralph Goings and Audrey Flack take still life to a new dimension, creating paintings so detailed they rival photographs. - Conceptual Still Life: Contemporary artists merge still life with conceptual art, often making political or social commentaries. - Digital Still Life: With the rise of digital art tools, artists now create still life pieces in the virtual realm, providing new perspectives and techniques. The Allure of the Ordinary In a world that often rushes past the mundane, still life painting invites us to pause. It reminds us that beauty exists in the ordinary, and profundity can be found in the stillness. Whether it's the intricate reflection in a glass of water or the soft gradient of light on a fruit, still life speaks to the soul in whispers, urging us to appreciate the present moment. Frequently Asked Questions Q: Why is it called "still life" painting? A: The term "still life" is derived from the Dutch word "stilleven", which essentially means "motionless" or "lifeless". It aptly describes the static, inanimate subjects of this art genre. Q: Is still life painting a good starting point for beginners? A: Absolutely! Still life painting allows beginners to focus on observation, composition, and technique without the complexity of moving subjects. Q: Can I use acrylics for still life painting? A: Yes! While many historic still life paintings were done in oils, acrylics are perfectly suitable and offer faster drying times. Read the full article

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fluffairy · 2 years

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I Still Miss Everyone I’ve Ever Loved

A bouquet of flowers in a vase, on a canvas.

Tulips, or irises, or maybe lilies.

Vanitas, memento mori,

Fly levitating at the edge of the frame.

One last coffee at Ditta Artiginale, a hug and a promise,

Then radio silence forever.

Blocked for no good reason,

With no answers available.

I turn away, click clack, down the hall, then

Return and look at the painting again.

She hurt me so many times in so many ways, but I still think:

C would love this, but I can’t send it to her.

A half-liter carafe of house wine split between two

(Red, because of her blood sugar), smiles over risotto,

Going out of my way to Ponte Santa Trinita

because I didn’t want to leave her.

She studied anatomy and flayed bodies and

Sculptures made of wax 500 years ago,

Slowly melting off their metal armature.

I come across an anatomy book that seems perfect for P,

But I can’t send it to her.

The golden boy who didn’t want to commit,

Who turned to a dull grey once the rose-colored glasses came off.

Tall, comfort, closeness, a special something that nobody but the two of us understood.

Comics and movies and Shirley Jackson novels,

Remembering how it felt to be pressed between him and his car in the middle of a park at dusk,

Big hands around my waist, glasses thrown to the side.

The golden boy who was a grown man, actually,

Who messed with a young woman’s head, who refused to blow out his torch

Just for me.

I’m supposed to be over it, but I still think about him.

I see books on comics culture and the history of horror at work,

I think that he would love it, and I never want to see his face again,

But a dull ache burrows into my chest.

I lost M, and I am glad I did, but it doesn’t make it better.

I close my eyes and I’m back in Texas, speeding down the highway to Houston,

Eating tacos and kolaches and guzzling iced coffee.

I think of the days I spent with K in our senior semester,

an overnight in my dorm room for fall break,

Christmas lights twinkling and Trader Joe’s ravioli on the stove,

Thinking even as it all happened that this would be something I would remember, and long for, someday.

She was strange and had so much traumatic baggage and weird interests,

and we called each other Dante and Virgil,

And I didn’t think I had ever had a best friend as good as her.

A letter written in anger on a train ride home from Philadelphia,

A letter that came in the mail two months later, ending a friendship

That had changed and determined so much about my life.

She hurt me, and was not a good friend to me at the end, but maybe

I wasn’t a good friend to her either.

I read a book, I watch a show, I screenshot a tweet, I want to send it to her,

But I can’t.

I’m better off without these people,

But the feelings still inundate me.

These people haunt me like ghosts, a foot behind me but just within reach,

Just close enough to bring back whenever I want.

Am I their ghost, too?

Do they see a Michelangelo sketch or a photo of Santo Spirito or

An Old Hollywood film and want to send it off to me?

These ghosts are conjured by myself, nostalgic to a fault

And lonely beyond belief.

I’m glad that I hold my memories and experiences with me, but

Sometimes I wish I could leave them behind.

Pack up the vanitas painting and the carafe of wine and the parking lot and the ravioli

And shove it under my bed.

Ghosts don’t always have to haunt you.

But I don’t quite know how to let them go.

KS 10/17/22

#ugh yikes #wrote this in one go and had an uncontrollable urge to put this *somewhere*#poetry #my writing

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miamiartdistrict · 4 years

Photo

KAMROOZ ARAM

on the ancient arts of Iran

Achaemenid (Iran, Susa). Bricks with a palmette motif, ca. 6th–4th century B.C. Ceramic, glaze. The Metropolitan Museum of Art, Rogers Fund, 1948 (48.98.20a–c)

The Artist Project

Vito Acconci on Gerrit Rietveld's Zig Zag Stoel

Ann Agee on the Villeroy Harlequin Family

Diana Al-Hadid on the cubiculum from the villa of P. Fannius Synistor at Boscoreale

Ghada Amer on an Iranian tile panel, Garden Gathering

Kamrooz Aram on the ancient arts of Iran

Cory Arcangel on the harpsichord

John Baldessari on Philip Guston's Stationary Figure

Barry X Ball on an Egyptian fragment of a queen’s face

Ali Banisadr on Hieronymus Bosch's The Adoration of the Magi

Dia Batal on a Syrian tile panel with calligraphic inscription

Zoe Beloff on Édouard Manet's Civil War (Guerre Civile)

Dawoud Bey on Roy DeCarava

Nayland Blake on boli

Barbara Bloom on Vilhelm Hammershøi's Moonlight, Strandgade 30

Andrea Bowers on Howardena Pindell

Mark Bradford on Clyfford Still

Cecily Brown on medieval sculptures of the Madonna and Child

Luis Camnitzer on Giovanni Battista Piranesi's etchings

Nick Cave on Kuba cloths

Alejandro Cesarco on Gallery 907

Enrique Chagoya on Goya's Los Caprichos

Roz Chast on Italian Renaissance painting

Willie Cole on Ci Wara sculpture

George Condo on Claude Monet's The Path through the Irises

Petah Coyne on a Japanese outer robe with Mount Hōrai

Njideka Akunyili CROSBY on Georges Seurat's Embroidery; The Artist's Mother

John Currin on Ludovico Carracci's The Lamentation

Moyra Davey on a rosary terminal bead with lovers and Death's head

Edmund de Waal on an ewer in the shape of a Tibetan monk's cap

Thomas Demand on the Gubbio studiolo

Jacob El Hanani on the Mishneh Torah, by Master of the Barbo Missal

Teresita Fernández on Precolumbian gold

Spencer Finch on William Michael Harnett's The Artist's Letter Rack

Eric Fischl on Max Beckmann's Beginning

Roland Flexner on Jacques de Gheyn II's Vanitas Still Life

Walton Ford on Jan van Eyck and workshop's The Last Judgment

Natalie Frank on Käthe Kollwitz

LaToya Ruby FRAZIER on Gordon Parks's Red Jackson

Suzan Frecon on Duccio di Buoninsegna's Madonna and Child

Adam Fuss on a marble grave stele of a little girl

Maureen Gallace on Paul Cézanne's still life paintings with apples

Jeffrey Gibson on Vanuatu slit gongs

Nan Goldin on Julia Margaret Cameron

Wenda Gu on Robert Motherwell's Lyric Suite

Ann Hamilton on a Bamana marionette

Jane Hammond on snapshots and vernacular photography

Zarina Hashmi on Arabic calligraphy

Sheila Hicks on The Organ of Mary, a prayer book by Ethiopian scribe Baselyos

Rashid Johnson on Robert Frank

Y.Z. Kami on Egyptian mummy portraits

Deborah Kass on Athenian vases

Nina Katchadourian on Early Netherlandish portraiture

Alex Katz on Franz Kline's Black, White, and Gray

Jeff Koons on Roman sculpture

An-My Lê on Eugène Atget's Cuisine

Il Lee on Rembrandt van Rijn's portraits

Lee Mingwei on Chinese ceremonial robes

Lee Ufan on the Moon Jar

Glenn Ligon on The Great Bieri

Lin Tianmiao on Alex Katz's Black and Brown Blouse

Kalup Linzy on Édouard Manet

Robert Longo on Jackson Pollock's Autumn Rhythm (Number 30)

Nicola López on works on paper

Nalini Malani on Hanuman Bearing the Mountaintop with Medicinal Herbs

Kerry James MARSHALL on Jean Auguste Dominique Ingres's Odalisque in Grisaille

Josiah McElheny on Horace Pippin

Laura McPhee on Pieter Bruegel the Elder's The Harvesters

Josephine Meckseper on George Tooker's Government Bureau

Julie Mehretu on Velázquez's Juan de Pareja

Alexander Melamid on Ernest Meissonier's 1807, Friedland

Mariko Mori on Botticelli's The Annunciation

Vik Muniz on The Henry R. Luce Center for the Study of American Art

Wangechi Mutu on Egon Schiele

James Nares on Chinese calligraphy

Catherine Opie on the Louis XIV bedroom

Cornelia Parker on Robert Capa's The Falling Soldier

Izhar Patkin on Shiva as Lord of Dance

Sheila Pepe on European armor

Raymond Pettibon on Joseph Mallord William Turner

Sopheap Pich on Vincent van Gogh's drawings

Robert Polidori on Jules Bastien-Lepage's Joan of Arc

Rona Pondick on Egyptian sculpture fragments

Liliana Porter on Jacometto's Portrait of a Young Man

Wilfredo Prieto on Auguste Rodin's sculptures

Rashid Rana on Umberto Boccioni's Unique Forms of Continuity in Space

Krishna Reddy on Henry Moore

Matthew Ritchie on The Triumph of Fame over Death

Dorothea Rockburne on an ancient Near Eastern head of a ruler

Alexis Rockman on Martin Johnson Heade's Hummingbird and Passionflowers

Annabeth Rosen on ceramic deer figurines

Martha Rosler on The Met Cloisters

Tom Sachs on the Shaker Retiring Room

David Salle on Marsden Hartley

Carolee Schneemann on Cycladic female figures

Dana Schutz on Balthus's The Mountain

Arlene Shechet on a bronze statuette of a veiled and masked dancer

James Siena on the Buddha of Medicine Bhaishajyaguru

Katrín Sigurdardóttir on the Hôtel de Cabris, Grasse

Shahzia Sikander on Persian miniature painting

Joan Snyder on Florine Stettheimer's Cathedrals paintings

Pat Steir on the Kongo Power Figure

Thomas Struth on Chinese Buddhist sculpture

Hiroshi Sugimoto on Bamboo in the Four Seasons, attributed to Tosa Mitsunobu

Eve Sussman on William Eggleston

Swoon on Honoré Daumier's The Third-Class Carriage

Sarah Sze on the Tomb of Perneb

Paul Tazewell on Anthony van Dyck's portraits

Wayne Thiebaud on Rosa Bonheur's The Horse Fair

Hank Willis THOMAS on a daguerreotype button

Mickalene Thomas on Seydou Keïta

Fred Tomaselli on Guru Dragpo

Jacques Villeglé on Georges Braque and Pablo Picasso

Mary Weatherford on Goya's Manuel Osorio Manrique de Zuñiga

William Wegman on Walker Evans's postcard collection

Kehinde Wiley on John Singer Sargent

Betty Woodman on a Minoan terracotta larnax

Xu Bing on Jean-François Millet's Haystacks: Autumn

Dustin Yellin on ancient Near Eastern cylinder seals

Lisa Yuskavage on Édouard Vuillard's The Green Interior

Zhang Xiaogang on El Greco's The Vision of Saint John

#The Metropolitan Museum of Art

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rachelvarley-adad1002 · 6 years

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Final work & Artist Statement

Dinner Party, 2018

Rachel Varley

The dramatic paradigm shift of still life, from a genre that was valued only for its decorative qualities, to the subject of academic exercise, moral contemplation and scientific study is used as the foundation for my final work. Consequently hosting both visual and symbolic complexities, my still-life paintings employ colour, line, space, symbols and motifs in order to outline and deconstruct the rich/poor binary. Often home to biblical motifs, spiritual symbols and notions of wealth, my portrayal of the rich/poor binary, via the historically complex genre of still-life painting is a nod to the enduring nature of economic disparity.

In my initial painting, I chose to employ a vibrant, exuberant colour palette for what I intend to be a depiction of a wealthy household. The lively, almost effervescent flowers paired with the rare, brightly coloured bird denote a sense of luxury and untouchability. This is reminiscent of real-world circumstances, in financial status determines quality of life on an individual basis. Posing as a caricature for high class society, I am encouraging my audience to imagine that this is the dining table of every first class family- because from the perspective of an individual surrounded by poverty, simple pleasures which adorn the everyday seem like an unattainable luxury.

Likewise, the muted, subtle colour palette of my second painting points to the struggle associated with life in poverty. Also as a caricature of the ideology, I have replaced the polished glass vase with inexpensive undecorated, clay pots. The exotic, rare, vibrant bird with a common, brown sparrow. And in recognition of vanitas paintings, I have replaced the bright, blooming, lavish flowers with decaying stems of wheat and simple flowers. I intentionally chose to depict the same style of setting in both paintings; a vase with flowers and a bird, in order to maximise the clarity of my message. To emphasise the unjust differences in living, experienced by wealthy/poor individuals.

Throughout the process of creating “Dinner Party” I was influenced heavily by my past works, as I am consistently passionate about the medium of watercolour paint, and the subject matter. The depiction of natural forms was featured also in my experimentation using digital platforms. In an attempt to broaden my practice and perhaps discover a medium that is better suited to my concept, I accessed the Adobe Sketch app on Ipad, using the same skills that I utilise when painting and drawing, but in a digital work space. Influenced by digital artist, Karl Kawsny whose works are reminiscent of lead pencil sketches, I began my own drafts. The ability to reverse mistakes, alter shape and line, and add or take away colour as I pleased was the main appeal of these experiments, and simultaneously aided me in conceptualising the rich/poor binary in new and creative ways. However, I believe that despite my fascination in digital art, a more intimate and controlled medium such as watercolour painting was necessary in order to reflect the firsthand insight that I was attempting to depict.

An investigation into the historical narrative of still-life art enabled me to understand the dynamic nature of it’s connotations through time. Additionally, this research enabled me to choose a still-life style, as the aesthetic qualities of the genre have also evolved with time. It was during this exploration that I discovered painter, Yana Movchan, whose interpretations of still-life settings provide a balance between ethereal surrealism and the traditional realism which acted as the foundation for still-life during the Renaissance era. Movchan’s unique interpretations inspired me to think deeply into the role that still-life art can play, which therefore lead me to using the genre as a window into the lives of rich/poor households.

My final work Dinner Party invites the audience to play a unique game of spot the difference, as the two paintings which appear structurally similar, have been designed to highlight and deconstruct the affects of the rich/poor binary. As an enduring, socially constructed issue, I have used the colour, symbolism and icons associated with wealth and poverty, for an over exaggerated, yet accurate insight into the affects of financial status on the quality of living.

#assessment2

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george-tumbrtumbr-blr · 4 years

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RESEARCH REPORT

Name: George Towne

Working title: Synthetic Pictorialism, Synthetic Still Life or aynalitic still life

When looking at Picassos synthetic Cubism the thought struck me of what synthetic pictorialism would be. Would it be what I have been looking at when viewing Erin O'keefe’s work? It could be. But I would see it as more pictorial cubism. So, what would it be? Would it look similar to Picasso’s work? But it cannot without the cubism. I need to look deeper in to what these notions and movements were before I can decide on such things. It is also possible that I am rambling meaningless words. But that is no reason not to peruse this. This is a working title and will definitely change if what I am saying is in fact meaningless.

It also seems rather grandiose for my work.

Research Methods: In creating and developing my project I have used a few research methods. The first of which is Visual Research. On conducting this research, I went to a few galleries to view both paintings and cultural items from the time period I am interested in. As a starting point this time period is around the 1700. This was around the time that the Dutch still lives were created. But I was not beholden to this period as it was the still lives, I was interested in. Since this point I have both looked at older and newer paintings to enhance my work from both the Renascence and the twentieth century. Using visual research has gone hand in hand with my other research method throughout my project. Critical analysis. I have attempted to be as brutal, with my work, as I can be. In attempt to push myself.

Experimentation has also been an important part of my project. Trying new things and teaching myself new techniques, in attempt to improve my work. I have learned a great deal through doing this. Including editing and studio techniques to compositional and perspectival techniques. This aspect of my project has been bolstered by my visual research of more modern artists. For example, Femke dekker. These visual artists have made me re-think entirely, what a still life is. This in turn inspired me to try new more modern editorial and practical techniques in my project which has only improved it.

In congruence with this I have been conducting practical and technical research methods I needed to know to produce my project. I did this through both the internet and asking the technicians who were more than happy to help me. For example, printing, understanding different papers, printing techniques and how the proses works especially with large prints, such as mine. I have looked in to different studio techniques such as, lighting, composition, tethering, focus stacking, using capture one, using the phase one and photoshop. But most importantly to this project using the space of my image and attempting to distort perspective. My tutor has been of great help in this regard, pointing me to various visual artists and explaining technical information like the inverse square law.

Pilot Project: In my Pilot Project I have learned to be experimental with my work. To try different techniques and critically analyze the results before implementing them in my project. As discussed, I learned this through my visual research of contemporary visual artists. That research has taught me to be experimental in my compositions, perspective, in my editing and even to an extent with my lighting set ups.

My practical research has also taught me a lot. I have been pushing my self to re-learn the basics of photography and build up again to have a fuller understanding of what I am doing, especially within the studio. I have learned to use the capture one software, tethering, lighting setups, the inverse square law, studio safety, using the phase one camera, using fuji x series cameras, using the canon 5d series, photoshop software, light room software, software of both PC and Mac OS systems and general problems that arise in the studio environment. Such as working out why a camera isn’t picking up the radio signals from the flash kit, using tethered flash and spending considerable time deciphering fujis wireless tethering. I have learned various techniques to aid my project such as removing unwanted objects from my images, basic compositing and focus stacking.

In printing I have learned about different printing techniques and which paper is most viable for my project, sizing of large image files, about those types of paper (that I am still deliberating over), how to handle prints after printing and how to prepare a print file.

With regards to the content of my project I have learned many lessons. Some harder than others. In my initial visual research, I was overwhelmed with the mastery the paintings I viewed represented, this was continuous throughout my project. But it gave me a goal to aim for no matter how out of reach. Constantly looking and critically comparing my project to these great works taught me to use this humbling experience as a driving force rather than one to stifle me. Which it very well could have. By being extremely critical of every aspect of my own work in this manner pushed me to seek advice and constantly look for ways to improve what I was doing. Over all my pilot project has helped me improve my work ethic under the majesty of these grate paintings, and visual artists. I have learned a great deal from them. But I have much more to learn.

Audience and Context: In the context of a still life, originally, they were not supposed to have an audience as such. The early Renascence paintings were created predominantly as practice pieces for later great works such as Fruit basket to David and Goliath. They were not overtly for public appreciation. Though were in fact sold. Later on, still lives evolved in a sense to be works in themselves but were still predominantly studies. This changed over the years, especially in the twentieth century. In my own project I have been thinking about context of still life I am producing and what its audience might be. I have been attempting to emulate the process of early still lives by using it as a study. This is why, up until this point, I have not been overly concerned with the content of the still life. Using the still life as a study has taught me a great deal, but, was not intended for an audience. Other than when seeking criticism to improve them. However, I am moving to a point where I am thinking about the meaning and make up of my still lives which infers an audience. My proposed audience for my work would be a gallery.

Production and Presentation: In the production of my project, as discussed, I have utilized a great many techniques to attempt to improve my work. These various methods have allowed me to look deeper in to what a still life is. In doing so, I have been able to explore different concepts that would fit with my work. Though I am still exploring this aspect of my project. My plan going forward is to utilize all I have learned in the studio, in editing and practical to produce the best I possibly can. I have thought a great deal about how I will present my work. And have concluded that the best manner of presentation would be a large print in a gallery. In my case I am rathe fortunate as we are required to show our work in such a setting upon completing the project. I have been intrigued by using frames during my project. I am not quite sure yet how I will implement this, but my final image could very well be framed in some fashion. With printing in mind, the size of the print is important. Up until this point I have had in mind and in fact printed to A1 size at 300ppi. However, I wish to push myself and am interested in the concept of stitching images together. The camera I am using (the phase one) can comfortably print to A1 in full resolution. By using photoshop to stich multiple images together I could create a much bigger piece which would be rathe imposing in the gallery setting. This would be interesting to explore this. The down side is that it would be rather expensive. Over all my image will be a single large print in a gallery.

Visual References / Bibliography:

Frans Syders – Still Life with a Dead Stag 1640-50

Jacob van Walscapelle – Flowers in a Glass Vase 1667

Jan Jansz. Treck – Still Life with a Pewter Flagon and Two Ming Bowls 1651

Jan Jansz. Treck – Vanitas Still Life 1648

Willem Kalf – Still life with Drinking-Horn 1653

Willem Claesz. Heda – Still Life: Pewter and Silver Vessels and a Crab 1633-37

Adriaen Coorte – Still Life with Strawberries, Gooseberries and Asparagus 1703

Rachel Ruysch – Flowers in a Glass Vase with a Tulip 1716

Ambrosius Bosschaert - A Still Life of flowers in a Wan-Li Vase 1609-10

Gustave Courbet – Still life with Apples and Pomegranate 1871-72

Vincent van Gogh – Sunflowers 1888

Vincent Van Gogh – Two Crabs 1889

Paul Cezanne – Still Life with Water Jug 1892-93

Femke dekker

Erin O’Keefe

Laura Letinsky

Richard Kuiper - Dutch Still Life in Plastic

Picasso - synthetic cubism

Henri Matisse

Paul Cezanne

#major project 1 #6imag001w.1

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