Dramatic Context
Georgia Brown
Figure 1.
National Portrait Gallery (1973).Henry Howard, Earl of Surrey. [online] Available from: http://www.npg.org.uk/collections/search/portraitLarge/mw06146/Henry-Howard-Earl-of-Surrey [Accessed 10 October 2014]
Figure 2.
National Portrait Gallery (1983). Sir Nicholas Poyntz. [online] Available from: http://www.npg.org.uk/collections/search/portraitLarge/mw07809/Sir-Nicholas-Poyntz [Accessed 11 October 2014]
Figure 3.
National Portrait Gallery (n.d.). King Henry IV. [online] Available from: http://www.npg.org.uk/collections/search/portrait/mw03072/King-Henry-IV [Accessed 11 October 2014]
Figure 4.
National Portrait Gallery (1595). John Donne. [online] Available from: http://www.npg.org.uk/collections/search/portraitLarge/mw111844/John-Donne [Accessed 11 October 2014]
Figure 5.
National Portrait Gallery (1680). Eleanor ('Nell') Gwyn. [online] Available from: http://www.npg.org.uk/collections/search/portraitLarge/mw02796/Eleanor-Nell-Gwyn [Accessed 11 October 2014]
Figure 6.
National Portrait Gallery (1835). George Gordon Byron, 6th Baron Byron. [online] Available from: http://www.npg.org.uk/collections/search/portraitLarge/mw00991/George-Gordon-Byron-6th-Baron-Byron [Accessed 14 October 2014]
National Portrait Gallery | Initial Portrait Analysis:
Gallery Visit | Useful Information: Interesting facts
Primary photographs taken from the visit, focusing soley on the artists technique and colour.
Useful information taken in: Things to look out for,
- Between the years of 1547 and 1619 Nicholas hillard used powdered gold and silver heated coloured resin, for any precious stones and jewels. I imagine other artists of that time used similar technique.
- A lot of the silver has tarnished in the paintings from the time period and will appear black (look out for this in my chosen painting).
- A flesh coloured carnation layer was applied to the face and later the features would be painted in. Excess carnation (or changing the face shape) would be removed with a damp brush, usually made from fine squirrel hair.
- Under a microscope, detailing on the paintings is made visible and overpaint (layers) are determined.
- Look at the life of the Sitter and the Artist in my chosen portrait, determine their lives and how they'd have looked at the time through research and analysis. Has the portrait been restored? What would the original colours have been and the age of the sitter? Has the long life of the portrait aged the sitter by cracking or fading in colour?
-The above painting closely identifies where the painting has aged over the years and the cracked effect it creates.
-Do not mistake this for age lines on my chosen portrait. Closely look at the different flesh tones and pigmentation in the painting, seporating the age of the sitter to the age of the painting itself.
- Above- I took photographs of how I found out specific and relevant information about the artists and sitters, I found this highlighted key information about the state of the paintings and any restoration that had been carried out- a long side key information.
- From visiting the gallery Ive decided to focus on replicating a portrait from the Sixteenth century (1500)+
- I found myself engrossed in this era and each painting told a story. I particularly liked the profile, naturalistic paintings. Usually a plain backdrop and a man/woman sat in a static pose with a blank expression.
- I know the Tudor period was the time of the black death and I'd like to further explore the outrage and trauma it caused, socially, at that time. And which types of people where most effected by it.
- To the right is an image I took whilst at the gallery, a brief outline of the Royal familys sucess and long reign. The two photographs are immaculate, the detailing in Queen Elizabeths gown is flawless down to each royal stone.
The Tudors;
Written Brainstorm | Things to think about:
Written list I created before the gallery visit to prompt me when doing research into my chosen painting. Hope to find some of the information/images listed in order to create an accurate resemblence of the painting on a model.
