’ Suffering and recovery ’general
One night -one brain ’own experience ’
Could be the title of my current 'self-direction project'. In trying to express my self-view of the strength and weakness points inside women personality In order to achieve that I will paint a collection of canvases using acrylic and oil colours as a basis, then I will try to work with different texture using the collage technique. I am aiming in self-direction project to discover more about the wide world of collage and develop my skills in life drawing through keeping attending to the life drawing sessions and keep practising by drawing anything on hands because of the woman figure will be the centre of my subject and I will try to build the idea by mixed media. Also, I will focus on the way how can Reflecting the Dimensions may be through deep study of the light and dark with good knowledge in how can I use the geometric measurements to help of forming the shape. I will also focus on my own experience as a woman firstly and as immigrate woman coming from different background with several differences between both cultures.
I may add some symbols aiming to give richness to my ideas.
Final outcome
Acrylic on canvas-138,86 cm
Acrylic on canvas-138,86 cm
Oil on canvas 120,120 cm Acrylic on canvas 80,60 cm
Oil on canvas 120,120 cm
practical practice
life drawing ، photos and imagination
using acrylic, watercolour, ink, pastel and pencil on paper. A4 and A3
mixed media , print and installation .
Using acrylic ,watercolour , papers , wall papers , plastic and wire
life drawing fruits and utensils from kitchen,
using watercolour , ink and acrylic on paper .A3 and A4.
primary research
Manchester Galleries visit
At Whitworth Art Gallery in Manchester I had a look around the exhibitions .
At Manchester art gallery
Travelling Heritage Bureau grand day out at chatsworthhouse (Derbyshire)
A woman who seeks equality with men is a woman lacking ambition. because simply I believe that women can do more in some cases and couldn't in other cases. it's very important for me to identify the aim of this project is to spotlight on women in serious real suffering due to their bad situation in their society like some of the third world countries . Personally I don’t agree with the way that some of the propaganda deal with some of weman issues that may I supported for example I support woman rights but I believe some of the problems are greeted by the women themselves .
I believe the differentiations in rights between women and men is originated by women themselves especially in the Middle East. Mothers raises their boys and girls differently by giving priority to boys which causes the problems when they grow up.
I would like to use a life drawing for a women figure to reflect my idea through body language
The weakness and strength, the fear and will , the suffering and success . In order to achieve that I have attended life drawing seasons and looked into other artists experiences , I would like to use the collage technique to express my view.
because
I didn't use collage before so, I spent some time in researching methods .
Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole.
A collage may sometimes include magazine and newspaper clippings, ribbons, paint, bits of colored or handmade papers, portions of other artwork or texts, photographs and other found objects, glued to a piece of paper or canvas. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.
The term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art.
first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasn't used by many people until the 10th century in Japan, when calligraphers began to apply glued paper, using texts on surfaces, when writing their poems. The technique of collage appeared in medieval Europe during the 13th century. Gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other precious metals were applied to religious images, icons, and also, to coats of arms. The 18th-century example of collage art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia (e.g. applied to photo albums) and books (e.g. Hans Christian Andersen, Carl Spitzweg). Many institutions have attributed the beginnings of the practice of collage to Picasso and Braque in 1912, however, early Victorian photocollage suggest collage techniques were practiced in the early 1860s.Many institutions recognize these works as memorabilia for hobbyists, though they functioned as a facilitator of Victorian aristocratic collective portraiture, proof of female erudition, and presented a new mode of artistic representation that questioned the way in which photography is truthful.
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum, Berlin.
Collage in the modernist sense began with Cubist painters Georges Braque and Pablo Picasso. According to some sources, Picasso was the first to use the collage technique in oil paintings.
Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after (and could be the first to use collage in paintings, as opposed to drawings):
"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in the new medium.
In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée), Picasso pasted a patch of oilcloth with a chair-cane design onto the canvas of the piece.
Surrealist artists have made extensive use of collage. Cubomania is a collage made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën. Surrealist games such as parallel collage use collective techniques of collage making.
Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after (and could be the first to use collage in paintings, as opposed to drawings):
"It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper and attaching them to his charcoal drawings. Picasso immediately began to make his own experiments in the new medium.
In 1912 for his Still Life with Chair Caning (Nature-morte à la chaise cannée), Picasso pasted a patch of oilcloth with a chair-cane design onto the canvas of the piece.
Surrealist artists have made extensive use of collage. Cubomania is a collage made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën. Surrealist games such as parallel collage use collective techniques of collage making.
Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm, Scottish National Gallery of Modern Art, Edinburgh
In the early part of the 20th century, decoupage, like many other art methods, began experimenting with a less realistic and more abstract style. 20th-century artists who produced decoupage works include Pablo Picasso and Henri Matisse. The most famous decoupage work is Matisse's Blue Nude
Henri Matisse, Blue Nude, 1952, gouache découpée, Pompidou Centre, Paris
Artists -research
Tamara de Lempicka
she was a Polish painter known for her distinctive Art Deco style. In her self-portraits and depictions of chic figures, Lempicka simplified volume and space into tubular and crystalline forms. “My goal is never to copy, but to create a new style, clear luminous colors and feel the elegance of the models,” she once explained. Born on May 16, 1898, in Warsaw, Poland to a wealthy family, she spent much of her childhood in Switzerland and Italy where she was influenced by the works of Renaissance and Mannerist masters. Living in St. Petersburg during the 1917 Russian Revolution, she and her husband fled to France to escape the Bolsheviks. During the 1920s, Lempicka became an integral part of the Parisian avant-garde scene and was acquainted with Pablo Picasso, Jean Cocteau, and André Gide. It was here that she invented her new persona Tamara de Lempicka, while studying under both Maurice Denis and André Lhote. In 1939, the artist fled the impending threat of World War II for the United States, settling in Los Angeles and later New York. Though she stopped painting for a number of years, a renewed interest in her works during the mid-1960s led her to resume. Lempicka died on March 18, 1980 in Cuernavaca, Mexico. Today, her works are held in the collections of the Metropolitan Museum of Art in New York, the Musée des Beaux-Arts de Nantes in France, and the National Museum of Women in the Arts in Washington, D.C., among others.
I like how de Lempicka make revolutionized the portrait style; more specifically, the role of the subject as a liberated and independent woman
and how she challenged the limitations imposed on the art and life of a woman.
Also, I am very impressed with her strong vibrant colours and the elegance of her lines and works.
she was a Polish painter known for her distinctive Art Deco style. In her self-portraits and depictions of chic figures, Lempicka simplified volume and space into tubular and crystalline forms. “My goal is never to copy, but to create a new style, clear luminous colors and feel the elegance of the models,” she once explained. Born on May 16, 1898, in Warsaw, Poland to a wealthy family, she spent much of her childhood in Switzerland and Italy where she was influenced by the works of Renaissance and Mannerist masters. Living in St. Petersburg during the 1917 Russian Revolution, she and her husband fled to France to escape the Bolsheviks. During the 1920s, Lempicka became an integral part of the Parisian avant-garde scene and was acquainted with Pablo Picasso, Jean Cocteau, and André Gide. It was here that she invented her new persona Tamara de Lempicka, while studying under both Maurice Denis and André Lhote. In 1939, the artist fled the impending threat of World War II for the United States, settling in Los Angeles and later New York. Though she stopped painting for a number of years, a renewed interest in her works during the mid-1960s led her to resume. Lempicka died on March 18, 1980 in Cuernavaca, Mexico. Today, her works are held in the collections of the Metropolitan Museum of Art in New York, the Musée des Beaux-Arts de Nantes in France, and the National Museum of Women in the Arts in Washington, D.C., among others.
I like how de Lempicka make revolutionized the portrait style; more specifically, the role of the subject as a liberated and independent woman
and how she challenged the limitations imposed on the art and life of a woman.
Also, I am very impressed with her strong vibrant colours and the elegance of her lines and works.
.
Jessica Watts
Jessica Watts is an Australian artist. She creates joyful mixed media paintings with a focus on stereotypes and feminine identity
She tries to Proving through her paintings that “pretty can be powerful, ” she produces floral paintings with a feminist focus. In her series, Wallflower, Watts employs playful patterns and brightly-colored blooms to accentuate the strength and beauty of the self-possessed woman
Each expressive painting in this series features an anonymous female figure standing before a backdrop inspired by a real-life wallpaper pattern. In most depictions, the subject’s nudity is concealed by bouquets bursting with textured blossoms. Thick brushstrokes sculpt the flowers’ petals, accentuating their form and allowing them to stand out against the flatness of the patterned surfaces.
To Watts, these floral paintings explore a reclaimed concept of female empowerment by celebrating each figure’s connection with nature. Similarly, by cloaking the figures in flowers, she strives to capture them in a way that shows “beauty is more about the hidden than the revealed.”
Jessica Watts
Jessica Watts is an Australian artist. She creates joyful mixed media paintings with a focus on stereotypes and feminine identity
She tries to Proving through her paintings that “pretty can be powerful, ” she produces floral paintings with a feminist focus. In her series, Wallflower, Watts employs playful patterns and brightly-colored blooms to accentuate the strength and beauty of the self-possessed woman
Each expressive painting in this series features an anonymous female figure standing before a backdrop inspired by a real-life wallpaper pattern. In most depictions, the subject’s nudity is concealed by bouquets bursting with textured blossoms. Thick brushstrokes sculpt the flowers’ petals, accentuating their form and allowing them to stand out against the flatness of the patterned surfaces.
To Watts, these floral paintings explore a reclaimed concept of female empowerment by celebrating each figure’s connection with nature. Similarly, by cloaking the figures in flowers, she strives to capture them in a way that shows “beauty is more about the hidden than the revealed.”
Nabeel Al Samman
Nabeel Al Samman is a Syrian artist. He graduated from the Faculty of Fine Arts, Damascus University in 1981. The artist has exhibited extensively across the Middle East: 2011 National Council for Culture and Arts, Kuwait; 2013 Solo exhibition ALM Gallery; 2013 55th Venice Biennale, Venice, Italy; 2014 Collective exhibition in Venezuela; 2014 Solo exhibition, Cinmar Gallery, Dubai. Nabeel Al Samman represented also Syria at The Syrian Pavilion at the 55th Venice Biennale, in Venice in 2013.
His art that often incorporates geometrical shapes made earthier with intense and warm colours, subjects different series in which he depicts nature and animals along with human figures and some of the ancient mythological themes from the stories such of Ishtar and Elishat. While referencing ancient mythology the artist chooses to evoke visual narratives rather than collage flat icons.
Al Samman’s work reflects his visual experience that is used through colours to ease the interpretations of diversity in civilizations. It also focuses on diagnostic meanings and human values such as the role of women in society and the victory against oppression.
Syrian women and their important role throughout history were the focal point of Artist Nabil al-Samman’s current artworks .
His paintings for Goddess Ishtar, the mother of the martyr, his beloved and his wife who await for his victorious return in which al-Samman found an evidence on the Will to live despite difficult circumstances
His work belongs to the collections of the Ministry of Culture and the Damascus Museum, Syria, and also to many private collections in Lebanon, Jordan, Kuwait, Dubai, Switzerland, Spain, Germany, Venezuela and the USA.
Nabeel Al Samman is a Syrian artist. He graduated from the Faculty of Fine Arts, Damascus University in 1981. The artist has exhibited extensively across the Middle East: 2011 National Council for Culture and Arts, Kuwait; 2013 Solo exhibition ALM Gallery; 2013 55th Venice Biennale, Venice, Italy; 2014 Collective exhibition in Venezuela; 2014 Solo exhibition, Cinmar Gallery, Dubai. Nabeel Al Samman represented also Syria at The Syrian Pavilion at the 55th Venice Biennale, in Venice in 2013.
His art that often incorporates geometrical shapes made earthier with intense and warm colours, subjects different series in which he depicts nature and animals along with human figures and some of the ancient mythological themes from the stories such of Ishtar and Elishat. While referencing ancient mythology the artist chooses to evoke visual narratives rather than collage flat icons.
Al Samman’s work reflects his visual experience that is used through colours to ease the interpretations of diversity in civilizations. It also focuses on diagnostic meanings and human values such as the role of women in society and the victory against oppression.
Syrian women and their important role throughout history were the focal point of Artist Nabil al-Samman’s current artworks .
His paintings for Goddess Ishtar, the mother of the martyr, his beloved and his wife who await for his victorious return in which al-Samman found an evidence on the Will to live despite difficult circumstances
His work belongs to the collections of the Ministry of Culture and the Damascus Museum, Syria, and also to many private collections in Lebanon, Jordan, Kuwait, Dubai, Switzerland, Spain, Germany, Venezuela and the USA.
Joan Mitchell
Joan Mitchell was an American "second generation" abstract expressionist painter and printmaker. She was a member of the American abstract expressionist movement, known for the compositional rhythms, bold colouration, and sweeping gestural brushstrokes of her large and often multi-panelled paintings. Inspired by landscape, nature, and poetry, her intent was not to create a recognizable image, but to convey emotions. Mitchell's early success in the 1950s was striking at a time when few women artists were recognized. She referred to herself as the "last Abstract Expressionist," and she continued to create abstract paintings until her death in 1992.
Joan Mitchell's mature work comprised a highly abstract, richly colored, calligraphic manner, which balanced elements of structured composition with a mood of wild improvisation.
Mitchell rejected the emphasis on flatness and the "all-over" approach to composition that were prevalent among many of the leading Abstract Expressionists. Instead, she preferred to retain a more traditional sense of figure and ground in her pictures, and she often composed them in ways that evoked impressions of landscape.
Mitchell's abrasive personality has been a key factor in interpretations of her painting, which critics often read as expressions of rage and violence. Yet, almost as often, they have seen lyricism in her work
Joan Mitchell was an American "second generation" abstract expressionist painter and printmaker. She was a member of the American abstract expressionist movement, known for the compositional rhythms, bold colouration, and sweeping gestural brushstrokes of her large and often multi-panelled paintings. Inspired by landscape, nature, and poetry, her intent was not to create a recognizable image, but to convey emotions. Mitchell's early success in the 1950s was striking at a time when few women artists were recognized. She referred to herself as the "last Abstract Expressionist," and she continued to create abstract paintings until her death in 1992.
Joan Mitchell's mature work comprised a highly abstract, richly colored, calligraphic manner, which balanced elements of structured composition with a mood of wild improvisation.
Mitchell rejected the emphasis on flatness and the "all-over" approach to composition that were prevalent among many of the leading Abstract Expressionists. Instead, she preferred to retain a more traditional sense of figure and ground in her pictures, and she often composed them in ways that evoked impressions of landscape.
Mitchell's abrasive personality has been a key factor in interpretations of her painting, which critics often read as expressions of rage and violence. Yet, almost as often, they have seen lyricism in her work