JOHN SPEIER
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​Fine Art & Philosophy

December 30th, 2017

12/30/2017

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Self portrait with a Turban.

Picture
Picture
My most recent portrait is in the style of Jan van Eyck. It's a very diminutive work and the composition is simple. The head sort of floats in the dark and the red turban is vibrant against the black back-ground. While painting this I was reminded of the scarcity of blues in paintings over 200-300 years old (the master work that inspired me was painted in 1433). Reds and blacks were plentiful though, mostly in the form of Earth Oxides. I am lucky to have Cadmium at my disposal for reds. The black I used is Chromatic black, a mixture of green and red pigments.

This is the first portrait I've painted using oil in the last 13 years or so, and in those past portraits my marks were more loose and spontaneous. With this work I wanted a more polished, finished look, like that of Northern-Renaissance painters. I had been using Gouache and acrylic for my smaller portrait work lately, due to the easy clean-up and quick dry time, usually painting using glazes. By using Gamblin's alkyd-based oils I was able to blend the brush strokes and produce gentler textures. I was really encouraged by the experience of doing a portrait this way and will most likely paint most future portraits with oil. I have yet to make a frame for this picture. I'll get some moldings from the local hardware store and try to recreate something like the frame on the van Eyck original. I did something similar in my last portrait, where I tried to recreate the frame on a recently auctioned Da vinci.

Painting a master copy always comes with many lessons. Trying to re-create something in the style of another artist teaches you about composition, color mixing, and breeds appreciation for the work of others. It's also empowering to complete a decent approximation of what's considered a masterpiece. After each picture I complete, I get more ambitious. The hardest part of any painting for me is having the patience to study the original/source material through drawing and actually working through the revision process that is painting itself. If I settle for my first attempt at a picture, I'm usually being dishonest with myself and sacrificing quality. Painting really is laborious if done right.

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Nulla Salus

12/20/2017

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Picture
Nulla Salus (Savior of None) Gouache and Acrylic on panel, 11x15 inches)

I have a lot of fun imitating things. From an early age I enjoyed doing impressions of TV personalities and cartoon characters. There's something about pretending I'm something else that's always appealed to me. Painting for me has always also been a species of pretend and imitation. My recent work in iconography is a prime example of this. 

Though this painting isn't an icon, its very much in the spirit of my earlier icon paintings. Its an exercise in seeing myself "as" someone else. In this case, my painting is patterned after Leonardo da Vinci's Salvator Mundi (savior of the world). Though of course I'm a savior of none, I nevertheless wanted to attempt an imitation of Leonardo's work, though of course it would fall short in a number of ways.

Leonardo's painting is notable not only for its formal qualities but because it recently sold for about $450 million, the most any painting has fetched at auction. I hope to get about a millionth of that price for my rendition. We'll see.

This painting was full of challenges and setbacks. The most apparent to me was the difficulty of painting a face, my own in this instance. Because we're so familiar with faces, we're keenly aware when our representation isn't true to reality. Its easier to get away with generalized mountains, but the faces we paint betray their differences with the real thing immediately. Consequently, I had to repaint the face of this work maybe four times. Each time I lied to myself and said it was good enough, but I could only live this tension so long. I'm ok with how the final likeness turned out.

Another interesting aspect of this imitation, was making the frame, which involved several steps and a whole Sunday. I simply applied moldings from Lowe's to a Rectangular piece of plywood to mimic the original frame. Then I painted the whole thing black and added details in gold. It was important to me to reproduce the frame details with as much fidelity as I could muster. I couldn't put any old frame on this painting. The imitation was incomplete without the mimicry of the frame to give the painting context. The project in total took about 10 hours.

Gouache is nice and quick to work with, but I think my next imitation/meditation will be in oil.

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    J0hn Hunter Speier 

    Recent work, and explorations of techniques, aesthetics and  poetics.  

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