Bafa members have chosen to view classical paintings and select one to interpret every two months as a design and composition challenge. Sylvia and I kicked it off by selecting Vermeer's The Lacemaker (fig. 1), painted in 1655, to show the group how different interpretations can be (fig. 2-3). Our next selection was Matisse's The Girl in the Purple Coat, painted in 1937 (fig. 4-17). Jackie Stubblefield did a near perfect rendition (fig. 6) in acrylics - which she said is definitely not her style and was a big challenge. Dot Collins' paper-pieced version was my personal favorite (fig. 7).
Because I had done an pieced abstraction of The Lacemaker (fig. 3), I wanted to piece something for Matisse (fig. 12). However, I didn't feel I understood the master so I then did a series of watercolor-on-fabric postcards (figs. 13-17), focusing on mark-making, depth and detail as I went along. I now understand why art students at the MFAH are always sketching the master paintings for in-studio classwork to gain insight into the master's mind and work. I can't wait to do this again.
Vermeer 1665 fig. 1
Sylvia Weir fig. 2
Connie fig. 3
Matisse 1937 fig. 4
Jean Aguilar fig. 5
Jackie Stubblefield fig. 6
Dot Collins fig. 7
Sherry Walker fig. 8
Kathy Risinger fig. 9
Sylvia Weir fig. 10
Dianna Eichorn fig. 11
Angled Connie fig. 12
Making Marks 1 fig. 13
Making Marks 2 fig. 14
Making Marks 3 fig. 15
Making Marks4 fig. 16
Making Marks 5 fig. 17
No comments:
Post a Comment