Day 313- Francisco De Goya- Light and Shadow

It’s Day 313 and I’m nervous because I’m paying tribute to one of my favorite painters today and there’s no way I’m going to paint exactly like him…but I tried and accomplished it somewhat.  I decided to focus on his “Black Paintings” series because of the intrigue and style.  I thought I could capture those a little easier since I only have one day!  I’m also working with acrylics and crackle paint and not oils so that’s another constraint.  Other than that I like how my piece turned out.  Join me in honoring Francisco De Goya today!

Self-Portrait at 69 years- Francisco De Goya

Self-Portrait at 69 years- Francisco De Goya

Don Manuel Osorio Manrique de Zuniga(oil on canvas)- Francisco De Goya

Don Manuel Osorio Manrique de Zuniga(oil on canvas)- Francisco De Goya

Francisco de Goya y Lucientes was born on March 30, 1746, in Fuendetodos, a village in northern Spain. The family later moved to Saragossa, where Goya’s father worked as a gilder. At about 14 young Goya was apprenticed to Jose Luzan, a local painter. Later he went to Italy to continue his study of art.

On returning to Saragossa in 1771, he painted frescoes for the local cathedral. These works, done

Old Men- Francisco De Goya

Old Men- Francisco De Goya

in the decorative rococo tradition, established Goya’s artistic reputation. In 1773 he married Josefa Bayeu, sister of Saragossa artist Francisco Bayeu. The couple had many children, but only one–a son, Xavier–survived to adulthood.

From 1775 to 1792 Goya painted cartoons (designs) for the royal tapestry factory in Madrid. This was the most important period in his artistic development. As a tapestry designer, Goya did his first genre paintings, or scenes from everyday life.

Lucientes- Francisco De Goya

Lucientes- Francisco De Goya

The experience helped him become a keen observer of human behavior. He was also influenced by neoclassicism, which was gaining favor over the rococo style. Finally, his study of the works of Velazquez in the royal collection resulted in a looser, more spontaneous painting technique.

At the same time, Goya achieved his first popular success. He became established as a portrait painter to the Spanish aristocracy. He was elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

A serious illness in 1792 left Goya permanently deaf. Isolated from others by his deafness, he became increasingly occupied with the fantasies and inventions of his imagination and with critical and satirical observations of mankind. He evolved a bold, free new style close to caricature. In 1799 he

Satan Devouring His Son- Francisco De Goya

Satan Devouring His Son- Francisco De Goya

published the Caprichos, a series of etchings satirizing human folly and weakness. His portraits became penetrating characterizations, revealing their subjects as Goya saw them. In his religious frescoes he employed a broad, free style and an earthy realism unprecedented in religious art.

Monk Talking to an Old Woman- Francisco De Goya

Monk Talking to an Old Woman- Francisco De Goya

Goya served as director of painting at the Royal Academy from 1795 to 1797 and was appointed first Spanish court painter in 1799. During the Napoleonic invasion and the Spanish war of independence from 1808 to 1814, Goya served as court painter to the French. He expressed his horror of armed conflict in The Disasters of War, a series of starkly realistic etchings on the atrocities of war. They were not published until 1863, long after Goya’s death.

Upon the restoration of the Spanish monarchy, Goya was pardoned for serving the French, but his work was not favored by the new king. He was called before the Inquisition to explain his earlier portrait of The Naked Maja, one of the few nudes in Spanish art at that time.

In 1816 he published his etchings on bullfighting, called the Tauromaquia. From

Witches' Sabbath- Francisco De Goya

Witches’ Sabbath- Francisco De Goya

1819 to 1824 Goya lived in seclusion in a house outside Madrid. Free from court restrictions, he adopted an increasingly personal style. In the Black Paintings, executed on the walls of his house, Goya gave expression to his darkest visions. A similar nightmarish quality haunts the satirical Disparates, a series of etchings also called Proverbios.

Old Men Eating Soup- Francisco De Goya

Old Men Eating Soup- Francisco De Goya

In 1824, after the failure of an attempt to restore liberal government, Goya went into voluntary exile in France. He settled in Bordeaux, continuing to work until his death there on April 16, 1828. Today many of his best paintings hang in Madrid’s Prado art museum. (From WebMuseum)

Biography is from www.franciscodegoya.net.

I’m sure if you’re not familiar with Goya’s art it would seem gloomy, but keep in mind that I’m focusing on his black paintings…which I read somewhere that he never really intended on people seeing.  I love the story of these paintings and I think they are very haunting and wonderful!  I hope you enjoy my piece for today and I will see you tomorrow on Day 314!

Best,

Linda

 

Please Don't Kill Me- Tribute to Francisco De Goya Linda Cleary 2014 Acrylic and Crackle Paint on Canvas

Please Don’t Kill Me- Tribute to Francisco De Goya
Linda Cleary 2014
Acrylic and Crackle Paint on Canvas

Side-View Please Don't Kill Me- Tribute to Francisco De Goya Linda Cleary 2014 Acrylic and Crackle Paint on Canvas

Side-View
Please Don’t Kill Me- Tribute to Francisco De Goya
Linda Cleary 2014
Acrylic and Crackle Paint on Canvas

Close-Up 1 Please Don't Kill Me- Tribute to Francisco De Goya Linda Cleary 2014 Acrylic and Crackle Paint on Canvas

Close-Up 1
Please Don’t Kill Me- Tribute to Francisco De Goya
Linda Cleary 2014
Acrylic and Crackle Paint on Canvas

Close-Up 2 Please Don't Kill Me- Tribute to Francisco De Goya Linda Cleary 2014 Acrylic and Crackle Paint on Canvas

Close-Up 2
Please Don’t Kill Me- Tribute to Francisco De Goya
Linda Cleary 2014
Acrylic and Crackle Paint on Canvas

Close-Up 3 Please Don't Kill Me- Tribute to Francisco De Goya Linda Cleary 2014 Acrylic and Crackle Paint on Canvas

Close-Up 3
Please Don’t Kill Me- Tribute to Francisco De Goya
Linda Cleary 2014
Acrylic and Crackle Paint on Canvas

Day 256- William Blake- Art is the Tree of Life

It’s Day 256 and today’s artist is one that I was very intimidated to pay tribute to.  His style of painting is so complex and in a weird way…foreign, almost alienesque to me that I didn’t even know where to begin.  Instead of stressing out about emulating his style exactly, I decided to just do a piece inspired by him.  I love his subject matter and I’m a huge fan of his writing and poetry as well.  I’m sure you know him.  Please join me in honoring William Blake today.  His biography is quite extensive so I just pasted parts regarding his artwork.

William Blake

William Blake

William Blake: The Ancient of Days, 1794

William Blake: The Ancient of Days, 1794

William Blake (28 November 1757 – 12 August 1827) was an English painter, poet and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form “what is in proportion to its merits the least read body of poetry in the English language”. His visual artistry led one contemporary art critic to proclaim him “far and away the greatest artist Britain has ever produced”. In 2002, Blake was placed at number 38 in the BBC’s poll of the 100 Greatest Britons.  Although he lived in London his entire life (except for three years spent in Felpham), he produced a diverse and symbolically rich oeuvre, which embraced the imagination as “the body of God” or “human existence itself”.

Although Blake was considered mad by contemporaries for his idiosyncratic views, he is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of the Romantic movement and “Pre-Romantic”, for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England (indeed, to all forms of organised

Jerusalem The Emanation of The Giant Albion by William Blake

Jerusalem The Emanation of The Giant Albion by William Blake

religion), Blake was influenced by the ideals and ambitions of the French and American Revolutions. Though later he rejected many of these political beliefs, he maintained an amiable relationship with the political activist Thomas Paine; he was also influenced by thinkers such as Emanuel Swedenborg. Despite these known influences, the singularity of Blake’s work makes him difficult to classify. The 19th-century scholar William Rossetti characterised him as a “glorious luminary”, and “a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors”.

William Blake was born on 28 November 1757 at 28 Broad Street (now Broadwick St.) in Soho, London. He was the third of seven children, two of whom died in infancy. Blake’s father, James, was a hosier.  He attended school only long enough to learn reading and writing, leaving at the age of ten, and was otherwise educated at home by his mother Catherine Wright Armitage Blake. Even though the Blakes were English Dissenters, William was baptised on 11 December at St James’s Church, Piccadilly, London. The Bible was an early and profound influence on Blake, and remained a source of inspiration throughout his life.

William Blake Pencil Drawing

William Blake Pencil Drawing

Blake started engraving copies of drawings of Greek antiquities purchased for him by his father, a practice that was preferred to actual drawing. Within these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Maarten van Heemskerckand Albrecht Dürer. The number of prints and bound books that James and Catherine were able to purchase for young William suggests that the Blakes enjoyed, at least for a time, a comfortable wealth. When William was ten years old, his parents knew enough of his headstrong temperament that he was not sent to school but instead enrolled in drawing classes at Pars’s drawing school in the Strand. He read avidly on subjects of his own choosing. During this period, Blake made explorations into poetry; his early work displays knowledge of Ben Jonson,Edmund Spenser, and the Psalms.

In 1788, aged 31, Blake experimented with relief etching, a method he used to produce most of his books, paintings, pamphlets and poems. The process is also referred to as illuminated printing, and the finished products as illuminated books or prints. Illuminated printing involved writing the text of the poems on copper plates with pens and brushes, using an acid-resistant medium. Illustrations could appear alongside words in the manner of earlier illuminated manuscripts. He then etched the plates in acid to dissolve the untreated copper and leave the design standing in relief (hence the name).

This is a reversal of the usual method of etching, where the lines of the design are exposed to the acid, and the plate printed by the intaglio

Abel- William Blake

Abel- William Blake

method. Relief etching (which Blake referred to as “stereotype” in The Ghost of Abel) was intended as a means for producing his illuminated books more quickly than via intaglio. Stereotype, a process invented in 1725, consisted of making a metal cast from a wood engraving, but Blake’s innovation was, as described above, very different. The pages printed from these plates were hand-coloured in water colours and stitched together to form a volume. Blake used illuminated printing for most of his well-known works, including Songs of Innocence and of ExperienceThe Book of ThelThe Marriage of Heaven and Hell and Jerusalem.

From the Book of Job- William Blake

From the Book of Job- William Blake

Although Blake has become most famous for his relief etching, his commercial work largely consisted of intaglio engraving, the standard process of engraving in the 18th century in which the artist incised an image into the copper plate, a complex and laborious process, with plates taking months or years to complete, but as Blake’s contemporary, John Boydell, realised, such engraving offered a “missing link with commerce”, enabling artists to connect with a mass audience and became an immensely important activity by the end of the 18th century.

Blake employed intaglio engraving in his own work, most notably for the illustrations of the Book of Job, completed just before his death. Most critical work has concentrated on Blake’s relief etching as a technique because it is the most innovative aspect of his art, but a 2009 study drew attention to Blake’s surviving plates, including those for the Book of Job: they demonstrate that he made frequent use of a technique known as “repoussage”, a means of obliterating mistakes by hammering them out by hitting the back of the plate. Such techniques, typical of engraving work of the time, are very different to the much faster and fluid way of drawing on a plate that Blake employed for his relief etching, and indicates why the engravings took so long to complete.

Blake returned to London in 1804 and began to write and illustrate Jerusalem (1804–20), his most ambitious work. Having conceived the idea of portraying the characters in Chaucer’s Canterbury Tales, Blake approached the dealer Robert Cromek, with a view to marketing an engraving. Knowing Blake was too eccentric to produce a popular work, Cromek promptly commissioned Blake’s friend Thomas

The Great Red Dragon and the Woman Clothed with the Sun- William Blake

The Great Red Dragon and the Woman Clothed with the Sun- William Blake

Stothard to execute the concept. When Blake learned he had been cheated, he broke off contact with Stothard. He set up an independent exhibition in his brother’s haberdashery shop at 27 Broad Street in Soho. The exhibition was designed to market his own version of the Canterbury illustration (titled The Canterbury Pilgrims), along with other works. As a result, he wrote his Descriptive Catalogue (1809), which contains what Anthony Blunt called a “brilliant analysis” of Chaucer and is regularly anthologised as a classic of Chaucer criticism.[47] It also contained detailed explanations of his other paintings. The exhibition was very poorly attended, selling none of the temperas or watercolours. Its only review, in The Examiner, was hostile.

Also around this time (circa 1808), Blake gave vigorous expression of views on art in an extensive series of polemical annotations to the Discourses of Sir Joshua Reynolds, denouncing the British Academy as a fraud and proclaiming, “To Generalize is to be an Idiot”.

William Blake

William Blake

In 1818 he was introduced by George Cumberland’s son to a young artist named John Linnell. A blue plaque commemorates Blake and Linnell at Old Wyldes’ at North End, Hampstead. Through Linnell he met Samuel Palmer, who belonged to a group of artists who called themselves the Shoreham Ancients. The group shared Blake’s rejection of modern trends and his belief in a spiritual and artistic New Age. Aged 65, Blake began work on illustrations for the Book of Job, later admired by Ruskin, who compared Blake favourably to Rembrandt, and by Vaughan Williams, who based his ballet Job: A Masque for Dancing on a selection of the illustrations.

In later life Blake began to sell a great number of his works, particularly his Bible illustrations, to Thomas Butts, a patron who saw Blake more as a friend than a man whose work held artistic merit; this was typical of the opinions held of Blake throughout his life.

The commission for Dante’s Divine Comedy came to Blake in 1826 through Linnell, with the aim of producing a series of engravings. Blake’s death in 1827 cut short the enterprise, and only a handful of watercolours were completed, with only seven of the engravings arriving at proof form. Even so, they have evoked praise:

‘[T]he Dante watercolours are among Blake’s richest achievements, engaging fully with the problem of illustrating a poem of this complexity. The mastery of watercolour has reached an even higher level than before, and is used to extraordinary effect in differentiating the atmosphere of the three states of being in the poem’.

Blake’s illustrations of the poem are not merely accompanying works, but rather seem to critically revise, or furnish commentary on, certain spiritual or moral aspects of the text.

Because the project was never completed, Blake’s intent may be obscured. Some indicators bolster the impression that Blake’s

The Angels Appearing to the Shepherds- William Blake

The Angels Appearing to the Shepherds- William Blake

illustrations in their totality would take issue with the text they accompany: In the margin of Homer Bearing the Sword and His Companions, Blake notes, “Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost.” Blake seems to dissent from Dante’s admiration of the poetic works of ancient Greece, and from the apparent glee with which Dante allots punishments in Hell (as evidenced by the grim humour of the cantos).

At the same time, Blake shared Dante’s distrust of materialism and the corruptive nature of power, and clearly relished the opportunity to represent the atmosphere and imagery of Dante’s work pictorially. Even as he seemed to near death, Blake’s central preoccupation was his feverish work on the illustrations to Dante’s Inferno; he is said to have spent one of the very last shillings he possessed on a pencil to continue sketching.

Blakes’s last years were spent at Fountain Court off the Strand (the property was demolished in the 1880s, when the Savoy Hotel was built). On the day of his death, Blake worked relentlessly on his Dante series. Eventually, it is reported, he ceased working and turned to his wife, who was in tears by his bedside. Beholding her, Blake is said to have cried, “Stay Kate! Keep just as you are – I will draw your portrait – for you have ever been an angel to me.” Having completed this portrait (now lost), Blake laid down his tools and began to sing hymns and verses. At six that evening, after promising his wife that he would be with her always, Blake died. Gilchrist reports that a female lodger in the house, present at his expiration, said, “I have been at the death, not of a man, but of a blessed angel.”

George Richmond gives the following account of Blake’s death in a letter to Samuel Palmer:

He died … in a most glorious manner. He said He was going to that Country he had all His life wished to see & expressed Himself Happy, hoping for Salvation through Jesus Christ – Just before he died His Countenance became fair. His eyes Brighten’d and he burst out Singing of the things he saw in Heaven.

The Ghost of a Flea- William Blake

The Ghost of a Flea- William Blake

Catherine paid for Blake’s funeral with money lent to her by Linnell. He was buried five days after his death – on the eve of his 45th wedding anniversary – at the Dissenter’s burial ground in Bunhill Fields, where his parents were interred. Present at the ceremonies were Catherine, Edward Calvert, George Richmond, Frederick Tatham and John Linnell. Following Blake’s death, Catherine moved into Tatham’s house as a housekeeper. She believed she was regularly visited by Blake’s spirit. She continued selling his illuminated works and paintings, but entertained no business transaction without first “consulting Mr. Blake”. On the day of her death, in October 1831, she was as calm and cheerful as her husband, and called out to him “as if he were only in the next room, to say she was coming to him, and it would not be long now”.

On her death, Blake’s manuscripts were inherited by Frederick Tatham, who burned some he deemed heretical or politically radical. Tatham was an Irvingite, one of the many fundamentalist movements of the 19th century, and opposed to any work that smacked of blasphemy. John Linnell erased sexual imagery from a number of Blake’s drawings.

Since 1965, the exact location of William Blake’s grave had been lost and forgotten as

William Blake

William Blake

gravestones were taken away to create a lawn. Blake’s grave is commemorated by a stone that reads “Near by lie the remains of the poet-painter William Blake 1757–1827 and his wife Catherine Sophia 1762–1831”. The memorial stone is situated approximately 20 metres away from the actual grave, which is not marked. Members of the group Friends of William Blake have rediscovered the location and intend to place a permanent memorial at the site.

Blake is recognised as a saint in the Ecclesia Gnostica Catholica. The Blake Prize for Religious Art was established in his honour in Australia in 1949. In 1957 a memorial to Blake and his wife was erected in Westminster Abbey.

Partial biography from wikipedia.

I hope you enjoy my piece in honor of William Blake today.  I did the best I could.  I am having some minor regrets with the use of my materials.  I kind of wish I had started with watercolor as opposed to acrylic…and then went from there, but alas!  It is done and I hope I at least captured a bit of his spirit!  I will see you tomorrow on Day 257!

Best,

Linda

Demon in the Sun- Tribute to William Blake  Linda Cleary 2014 Acrylic on Canvas

Demon in the Sun- Tribute to William Blake
Linda Cleary 2014
Acrylic on Canvas

Side-View Demon in the Sun- Tribute to William Blake  Linda Cleary 2014 Acrylic on Canvas

Side-View
Demon in the Sun- Tribute to William Blake
Linda Cleary 2014
Acrylic on Canvas

Close-Up 1 Demon in the Sun- Tribute to William Blake  Linda Cleary 2014 Acrylic on Canvas

Close-Up 1
Demon in the Sun- Tribute to William Blake
Linda Cleary 2014
Acrylic on Canvas

Close-Up 2 Demon in the Sun- Tribute to William Blake  Linda Cleary 2014 Acrylic on Canvas

Close-Up 2
Demon in the Sun- Tribute to William Blake
Linda Cleary 2014
Acrylic on Canvas

Close-Up 3 Demon in the Sun- Tribute to William Blake  Linda Cleary 2014 Acrylic on Canvas

Close-Up 3
Demon in the Sun- Tribute to William Blake
Linda Cleary 2014
Acrylic on Canvas