Exhibition Text
The “Man of the Hour”is a mix of an old man and Francisco Pizarro who is an old Spaniard that was involved in the discovery of the pacific ocean and the conquering of Peru. I chose to call the piece “The Man of the Hour” because it’s a reference to Francisco as he was my major inspiration. I enjoyed his vintage look and I decided to mix them because I thought the rough, dirty beard would give it more character. I believed it would give more personality and connections to the viewer.
The “Man of the Hour”is a mix of an old man and Francisco Pizarro who is an old Spaniard that was involved in the discovery of the pacific ocean and the conquering of Peru. I chose to call the piece “The Man of the Hour” because it’s a reference to Francisco as he was my major inspiration. I enjoyed his vintage look and I decided to mix them because I thought the rough, dirty beard would give it more character. I believed it would give more personality and connections to the viewer.
Planning
"Met Audio Guide Online." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 07 Nov. 2016.
"Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy." Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy. N.p., n.d. Web. 09 Nov. 2016
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Inspiration
The artist I choose was Rembrandt's who created the piece "Jan Lutma" in 1656 which was the old man that I referred to. I personally enjoyed the detail in the hair and in the face. I would us his style of line usage in the beard and in the feather in my art piece. The piece is supposed to reflect the vintage look and the classic fashion of that time frame. I also tried to mimic the cheek's of Jan Lutma as it brings emphasis to his face, which is the main component of this art piece. While I gave the sketchy feeling of the walls in the Jan Lutma piece to the shirt that "The Man of the Hour" is wearing in the piece. While Amable-Paul Coutan uses softer blends of color which are described in the piece itself. They are seen in the beard, feathers, armor, and hat. The exploration of blending colors to seem fluffy demonstrates the kind of casual person, rather than cast a barbaric one as he was the one who killed emperor Incan from Atahualpa. The man in the portrait is about a Silversmith named Jan Lutma who holds the handle of a candle. The clothing he wears is called Doublet (Shirt), with a frock coat above the shirt (Jacket). Which I considered for but ended up using the same hat Francisco uses, but I used Rembrandt's technique which was etching, which is a form of engraving a plate that will be printed. I also looked at how close all the lines where and I used this for the feather specifically. This type of portrait was used because of its ability to be produced more than once and its clean product. |
Planning
I began by looking at both of the images that I had as inspiration and considered all the aspects that I should apply into my piece. I Had selected the to used Rembrandt's line usage for the Feathers, beard, and Hair to create a contrast with the general negative space within the face. I developed upon the hair, beard and feather to bring emphasis to the vintage aspects of the piece because the main point of the piece is the vintage aspect, like a reflection of our roots. When I began to transfer the image to the plexi-glass I struggled because the paper which I drew the image was on the wrong side, and I couldnt rip it off because I would lose it. So I did the graphite transfer method twice to get it right and I was finally able to transfer the lead as a general guide-line.
Planning Sketches
I began by looking for the perfect angle considering that both images are in opposite directions, but I chose for the image to be looking to the right side because the main facial structure is from Amable-Paul's angle perspective. From there on I had to apply the aspects that I pulled out from Rembrandt's piece "Jan Lutma". The top sketch reflects this, as I carved many small clustered lines. This was to give the piece in a hair like feeling that is demonstrated in the beard and feather.
The middle picture is an image that describes different settings of peace which I formulated and thought to be nature, and home. I represented this with the different flowers, and a tree, wile home is shown as a Asian styled gate to home which is common as an entry way. The Lower image instead is a representation of beauty at a cost. This can be seen as the thorns are the cost to the beautiful flower. This is supposed to be an analysis of today's modern obsession over physical appearance. The second stem that is to the side is supposed to be a representation of how others prefer to abandon that boat and live free. This specific piece was also mean to be a series where it shows those who are free, and those who remain trapped in their |
Process
I began by sketching the man at different angles, which I chose the best one. The best one was the one where the man is looking to the right which is best because you can see the beard, hat, and feather clearly. It especially emphasizes the vintage look was something I applied from my research and it was my goal.
Experimentation
Reflection
Act prompts
Clearly explain how you are able to identify the cause-effect relationships between your inspiration and its effect upon your artwork:
The inspiration had caused me to create an old Spaniard, which would be the centerpiece of the art work, which was inspired by Francisco's look (Facial look, ex. Beard) and Jan Lutma's clothes which is portrayed by Rembrandt.
What is the overall approach (pov) the author (from research) has regarding the topic of your inspiration?
The author's perspectives on Francisco is very informational and in some occasions it might sound biased, but in it's usually monotone.
What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I can infer that historical people get judged based on there actions just as Francisco was and that it would create a sort of judgement on, are you a good person? Another thing I can infer is that the time period that they lived used Doublets, and other sorts of clothes.
What was the central idea or theme around your inspirational research?
The central idea of my piece was about the vintage look, and the success of Francisco Pizarro which is also shown.
The inspiration had caused me to create an old Spaniard, which would be the centerpiece of the art work, which was inspired by Francisco's look (Facial look, ex. Beard) and Jan Lutma's clothes which is portrayed by Rembrandt.
What is the overall approach (pov) the author (from research) has regarding the topic of your inspiration?
The author's perspectives on Francisco is very informational and in some occasions it might sound biased, but in it's usually monotone.
What kind of generalizations and conclusions have you discovered about people, ideas, cultures, etc. while you researched your inspiration?
I can infer that historical people get judged based on there actions just as Francisco was and that it would create a sort of judgement on, are you a good person? Another thing I can infer is that the time period that they lived used Doublets, and other sorts of clothes.
What was the central idea or theme around your inspirational research?
The central idea of my piece was about the vintage look, and the success of Francisco Pizarro which is also shown.
Bibliography
Lambert, By Tim. "A TIMELINE OF CLOTHES IN HISTORY." A Timeline of Clothes. N.p., n.d. Web. 09 Nov. 2016.
"Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy." Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy. N.p., n.d. Web. 09 Nov. 2016
"Met Audio Guide Online." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 07 Nov. 2016
"Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy." Amable-Paul Coutan | Portrait of Francisco Pizarro (1835) | Artsy. N.p., n.d. Web. 09 Nov. 2016
"Met Audio Guide Online." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 07 Nov. 2016