Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings


Commission-Homage to Joan Miro (fourth stage)

This stage has been the most frustrating so far as I considered the lower part of the background that depicted or suggested aspects of a beach scene to look too brown. After a day or so pondering and hoping that i would change my mind and like the brown I sought advice from a discerning advisor. We both gave it the thumbs down.

So a careful sanding and application of a veil of transparent white over the brown would fix the problem and allow for a more transparent and slightly more pink/orange overpainting.

 

 

 

 

 

I retained the yellow sunlit sky but carefully scumbled and then softly rubbed on the veil resulting in a bleached area that still allowed for the shape, line and lettering beneath to show through.

The glaze mixture consisted of Pilbara red and golden-yellow both transparent/semi transparent but with any Burnt sienna this time leaving a more orange transparency.

 

 

 

 

 

 

Once dry overpainting of figurative and text elements could begin. Lettering was my main concern so I employed as a careful rendition is not my forte. While there are strong linear elements in my compositions I mostly use oil painting sticks which leave a broken line or hatching combined with overpainting or sometimes compressed charcoal integrated into textural areas. Other line techniques include loaded round brush stroke or sometimes just squeezing out paint straight from the tube or making a line from a trowel edge. Or printed lines or string lines lifted from the paint surface or lines painted with the aid of masking tape, anything but hand drawn exact lines that cannot smudge as this painting requires the glaze surface to have as little disruption as possible. Luckily a skilled friend was at hand and  partly sketched in the text “Fairh’ (short for Fairhaven) and drew in some lines that indicated the figure.

I’ve been careful letting it dry before the easier lines and pictorial aspects can be blocked in before further layers strengthen the shapes and images.


1 Comment

COMMISSION – Homage to Joan Miro (first stage)

Background

This client had fallen in love with the art work of Surrealist artist Joan Miro and asked me if it was possible to come up with an image that was homage to his work but not a replica or copy but somehow retain something of my style too. It would be an interesting challenge because I tried to absorb ideas and techniques from Max Ernst, Paul Klee and Joan Miro as an art student and still traces remain.

 

We both chose Miro’s The Hunter ( Catalan Landscape ) as a guide regarding the colour and aspects of the composition with colour and line elements taking precedence. Texture as an element was the background onto which lines and flat shapes were used to depict objects and figures. The dimension of the Miro was 60×90 cm approximately but my client’s painting required to measure 90×150 cm meant that too close a resemblance to the Miro would never work. Instead of a Catalan landscape I said I’d come up with something else and bring it up to Melbourne when the painting was in early stages and see if colour, composition and subject were acceptable because changing the size may have made colour intensity too much and space elements may spread, loosing compact design and focus. I wondered whether or not the sky’s intensity would be a bit overpowering transferred to a large canvas.


Instead of a background Catalan Landscape I chose a Surf Coast scene at Fairhaven.

Underpainting

Detailed objects refer to each client’s activities and personalities, beginning the journey of homage to Miro meets the Fairhaven crew.