For Painting: Assessment Task 2 (Painting Adaptation and Critique Presentation) I chose to adapt the painting by Jennifer Riddle entitled Wanderings of the Past and Now, the winner of the 2022 Glover Prize.
The large realistic landscape painting is created with synthetic polymer on canvas with palette knives and brushes. The scene is a calm and overcast day in the oceanic inlet of Port Davey in Tasmania’s south-west. The composition is radial with the central focal point being the small vegetated rocky outcrop, with the mountains receding in the background and the landscape scene reflected in the still water in the foreground. The colour palette is complimentary blue and orange with tints of chromatic greys. Elements of atmospheric perspective are evident in the foreground and background. The painting is harmonious, instilling a sense of calm and peace.
In January 2023 I travelled to the wilderness of South West Tasmania. The landscape of Port Davey greatly impacted me personally and as an artist. I was fortunate enough to be taken to the actual location of Riddle’s painting by photographer and naturalist, Peter Marmion, who previously guided Riddle when she was taking photographs for the artwork. I chose this artwork because the painting transports me back to Port Davey. Also, I wanted to understand how Riddle created her painting while exploring the techniques studied in this subject. In adapting the painting my aim was to allow my own style to emerge and to enjoy the process.
In the planning process I researched artists Philip Wolfhagen and David Keeling. 'Wolfhagen spends days mixing colours on a glass slab before painting begins. “I have to feel absolutely certain about my chromatic ‘tuning’ before I can start”’. (Winton et al., 2013, p103). The base colour palette for my painting is based on the intensity adjustment chart with the complimentary colours of Winsor & Newton raw sienna and Langridge paynes grey tinted with Winsor & Newton titanium white. Selecting the base colour palette for the painting simplified the process and took a lot of guess work out of choosing colours, as I only had 3 tubes of paint to work with. Later, I added other colours including chromatic black, ultramarine blue, pthalo blue, sap green, cadmium yellow and burnt sienna.
David Keeling ‘…begins with the blocking: three tones, wet on wet, making a broad, Milton Avery pattern of background form. Next comes the sky, the smooth, even gradation from the top edge to ragged, leafy horizon. Only then does Keeling attend to the details of the bush.’ (Hansen, D, 2007, p37). My process involved blocking in wet in wet the darks, mids and lights whilst refining the geometric form. I then proceeded to add detail whilst considering the principles of atmospheric perspective, that is, warm colours in the foreground/cool colours in the background, dark tones in the foreground/light tones in the background, high colour saturation in the foreground/low colour saturation in the background, high contrast in the foreground/low contrast in the background and hard edges in the foreground/soft edges in the background.
As I was working in oils I had to be really conscious of working in the darks first and then adding the lighter colours. I also had to be aware of when to call it a day, otherwise the painting would start to become muddy. I had to manage my time and plan my approach each day. I found working the detail, particularly in the receding mountains, quite challenging. In retrospect, I wish I had chosen a less detailed artwork for this assessment especially with the time constraints. However, I did not let this overwhelm me and I trusted the process and allowed my own style to emerge. The assessment challenged me and I am happy with the outcome.
I really enjoyed the process (especially with this new technical knowledge gained in this subject) and would like to try more landscape painting. Next, I want to adapt a cloud painting by David Keeling Up Early with My Head in the Clouds I, 2022. I want to use a warm red tonal ground and allow the tonal ground to show through the painting and on the edges of the canvas.
BIBLIOGRAPHY:
•Hansen, D, 2007, ‘David Keeling’, Quintus Publishing, Tasmania
•‘Night Beacon VI’, 2005, photograph, viewed 22 March 2023 https://www.ngv.vic.gov.au/explore/collection/work/80293/
•‘Wanderings of the Past and Now’, photograph, viewed 21 March 2023 <https://jennyriddle.com.au
•‘Sweet Honeymoon Bay’, 2020, photograph, viewed on 22 March 2023 <https://www.art-almanac.com.au/david-keeling-everyday-counts/david_keeling_sweet_honeymoon_bay/>
•Winton et al, 2013, ‘Illumination : the Art of Philip Wolfhagen’, Newcastle Art Gallery, NSW
•Wolfe, R, 2023, ‘Untitled I’, photograph
•Wolfe, R, 2023, ‘Untitled II’, photograph
Rachel Wolfe is an emerging artist based in Hobart, Tasmania, currently pursuing a Bachelor of Fine Arts at the University of Tasmania. With a diverse and evolving practice, Rachel explores various mediums and techniques to create captivating and thought-provoking works of art. To explore Rachel's latest projects and artistic journey, visit her website www.rachelwolfe.com.au or follow her on social media.
Painting Adaptation was written for Assessment, Bachelor of Fine Arts, University of Tasmania, Subject: FSP111 Painting, Assessment Task 2: Adaptation Project and Critique Presentation
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