A Blanket of Texture For Historic Design

Seascapes have a long history and rely on a few  fundamental compositions with lots of variations. Among these inherited models one of the basics is the seascape with an extended triangular landmass on the horizon with  counterpoint clouds coming  from an opposing angle. Here are a few examples ( 1,2 and 3). I  reversed all these images to show their relationship to my composition. This foundation model has been applied to landscapes, abstractions, cityscapes and still lifes.  Example 4 presents  Gustav Klimt using a distilled and modified version of the form. Today I use modified version in a river scene.  See how I borrow from the traditional model and innovators like Klimt and apply my own variations. I also added  layers of complexity to the contrasting surface directions.

example 1. 1878,Luigi,Loire.

example 2. late 19th cent. A.T.Bricher.

example 3. 1878, Antoine Guillemet

example 4. composition as modified and distilled by Klimt.

I will begin with my photograph which I composed with the traditional seascape model in mind but, like Klimt, I used a high horizon (example 5). Next, I constructed a series of sketches (example 6). Sketch 1 demonstrates the fundamental composition with its declining triangle on the horizon and its rising triangular beach area. The arrow indicates the movement of the water surface into the picture. Because I have no counterbalancing cloud shape to juxtapose against the horizon’s triangle I must place an arresting element at the upper right of the horizon. I used a semicircular form.  Klimt used a small set of trees. I added to the complexity by placing a vertical stripe (trees and their reflection) down the center of the image to create more tension and disguise the traditional model (sketch 2). Sketch 3 indicates light and dark patterns. Sketch 4 demonstrates the contrasting texture patterns of the vertical trees, the horizontal water and the chaotic multidirectional textures of the beach/shore area.

Example 5. my photograph, converted to a high contrast black-and-white to show its relationship to the sketches in example 6.

example 6.sketch 1, basic design; sketch 2, counterpoint pattern overlaying design; sketch 3, Lights and darks; sketch 4, orientation of surface textures

Examples 6, 7, and 8  illustrate the step-by-step progress of the image from its initial lay-in with color and big shapes through its gradual development of surface textures. The surface is brushed silver anodized aluminum, 24″x24″. The medium is refined linseed oil (no turp, no varnish). The palette consists of azure blue, ultramarine blue, Carmine red lake, titanium white, lemon yellow, and Gamboge yellow. I used watercolor flat wash brushes varying from 1″ to 8″.  I  started with the 8″ and progressed to using the 2″and 1″ versions when working up the varieties of surface textures.

example 6. step 1, the lay-in.

example 7.step 2, sequence of textures

example 8. step 3, the image at present