Research Point
The still lifes I researched ranged from the trompe l'oeil style of William Michael Harnett (1848 – 1942) to the highly simplified rendition of Poem for a Jug, Blue on White, 1978 by William Scott (Scott, 1978). It is noteworthy to me that the still lives that appealed to me tend to be those that have a strikingly recognizable color scheme, or have subject matter which are depicted in a slightly different way to traditional still lives.
The color schemes which appeal to me are either monochromatic; or are rich in their application of a recognizable complementary, analogous, or triadic color scheme. I particularly like the work of contemporary artist Alexandra Buhler (Buhler, 2011). Although she often depicts fruit and vegetables, she does it in such a vibrant manner, applying her oil pastels layer upon layer, with vibrant color contrasts and emphasis on the textural qualities of the subject. Her color schemes are often analogous or complementary in nature. The oil pastel work, Still life with Thyme, 2011, uses the warm analogous colors of red/orange through to green/yellow, with accents of the complementary violet in the thyme blossoms (Buhler, 2011). It is a cheery still life, with well-rendered forms and visible pastel strokes to enliven the surface and shadows. Her composition is also interesting as she hones in on the fruit or vegetables, leaving very little negative space around the items.
Another artist, whose still lifes are lively and original, is British artist, Mary Fedden (1915 – 2012). Her use of the shape of objects to become the negative space in the paintings is remarkable. I particularly love the subtle color combination of Still life with African Violets, 1988 (Fedden, 1988). The rich dark olive greens of the background and the deep purple of the violets contrast with the creamy whites and yellow centres of the daffodils, as well as shape of the white fringed tablecloth and vase. Her composition is vibrant due to her use of the repetition of similar yet slightly varying shapes, and the diagonal divide caused by the tablecloth. She really plays with the question of what is foreground or background, positive or negative space.
It is interesting to see how the subject matter of still lifes has changed over the years according to what was vogue at the time. During the Baroque era, large overly filled arrangements of exotic looking flowers were very popular, as well as the still life which included everything from the slaughtered calf’s head, to the lifeless pheasant draped over the kitchen table top. Towards the end of the 19th century, everyday personal items became popular in a still life. William Michael Harnett, known for his realistic oil paintings, would often paint masculine looking subject matter, such as old pipes, tools, manuscripts, books and musical instruments. Their placement did not appear contrived in that it seemed he had just taken snapshots of a corner of his workroom or study. His work invited the viewer to reach out and touch the detailed textures he replicated on his canvas. His artwork is described in the online commentary by the Van Gogh Gallery as being “faithful to reality in the smallest detail.” (Van Gogh Gallery, 2002- 2015) He was either admired by his fascinated audience, or disdained by his critics (Van Gogh Gallery, 2002- 2015), but his works live on in the art appreciation textbooks as examples of finely executed studies worthy of notice (Patrick, et al., 2008).
The still life has also gone through phases of being incredible full of numerous seemingly disparate objects to being highly simplified, creating a sense of clarity and purpose. Audrey Flack is an artist who filled her compositions with gaudy feminine trinkets and cosmetics in saturated colors, painted in a photo-realistic style. This can be seen in one of her famous pieces, Marilyn (Vanitas), 1977 (Flack, 1977). A more recent artist, Jacques-Enguerrand Gourgue (1931 - 1996) also fills his composition Still-life with seemingly random, geometrically simplified objects, which compete with each other for their place on the picture plane, due to their placement and varying degrees of color saturation. “By juxtaposing familiar objects in surprising ways, he creates a surrealist style that invites the viewer to meet him on the level of the subconscious, giving free reign to emotion and fantasy.” (Валиулина Т.Н., Гречихин И.Е., © 2005-2015)
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| Fig. 1. William Scott. Fish Still Life Blue, 1982. |
By contrast, an artist such as abstract expressionist William Scott seems to be able to distill the essence of a still life down to a few reduced shapes, which are still poignant in their ability to communicate (fig.1). I particularly appreciate Fish Still Life Blue, 1982 as it leaves as wondering if the fish is actually dead or lying trapped within the encircling confines of ellipse which suggests the plate. (Scott, 1982) Seeing that I have found ellipses such a challenge to draw, this artwork appeals to me in its simplicity and the fact that the ellipse is not realistically rendered.
This brief overview highlights some of the characteristics I have noted as being important in creating a dynamic still life. This research has helped to kindle my interest in still lives. It makes me realize that there are still many different ways of interpreting this traditional drawing genre. It is often the color scheme, or the actual objects depicted, that lift it above banality, offering a fresh perspective on everyday items.
Illustration
Figure 1. Scott, W., 1982. Fish Still Life Blue, 1982. [Art viewed online] (WikiArt.org). At: http://www.wikiart.org/en/william-scott (Accessed on 30.5.15)
Works Cited
Buhler, A., 2011. Still life with Thyme, 2011. [Art viewed online] (Bridgeman Educational Library).
At: http://www.bridgemaneducation.com (Accessed on 30.5.15)
Fedden, M., 1988. Still life with African Violets. [Art] (Bridgeman Educational Library).
At: http://www.bridgemaneducation.com (Accessed on 30.5.15)
Flack, A., 1977. Marilyn (Vanitas), 1977. [Art viewed online].
At: http://www.audreyflack.com (Accessed on 30.5.15)
Patrick, F. L., Preble, D. & Preble, S., 2008. Preble's Artforms. In: 9th Edition ed. New Jersey: Prentice Hall.
Van Gogh Gallery, 2002- 2015. William Michael Harnett. [Online]
Available at: http://www.vangoghgallery.com/artistbios/william_michael_harnett.html
[Accessed 30 May 2015].
Валиулина Т.Н., Гречихин И.Е., © 2005-2015. Единое окно. [Online]
Available at: http://window.edu.ru [Accessed 30 May 2015].
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