after: ʻSELF-PORTRAITʼ, Jean Baptiste Chardin - 1775, Louvre, Paris, France.
Jean Baptiste Chardinʼs works are full of atmosphere and rely upon carefully constructed compositions. His unpretentious brand of realism and unique ʻcreamyʼ colour sense invoke a feeling of humbleness and delight in the everyday. This late self-portrait is drawn in pastel, a technique he turned to having had trouble with the lead substances in the oil colours.
see simular work
after: ʻTHE LADY WITH A FANʼ, Diego Rodriguez de Silva y Velázquez - 1640, Wallace Collection, London, England.
Typically, Velázquez painted with loose brushstrokes. At a distance objects come into focus, but close up, texture becomes imbued with life. Manet called Velasquez ʻthe painter of paintersʼ; no wonder because by using this ʻlooseʼ painting technique he opened the way for the Impressionists to move away from the stifling procedures of academism.
see original
after: ʻA CORNFIELDʼ, John Constable - 1817, British Tate Gallery, London, England.
The landscape pays tribute to a painting called ʻA Cornfieldʼ by John Constable (1776-1837). Constable was primarily a landscape painter. He was one of the first ʻplein airʼ painters, directly influencing the course of Impressionism. His technique involved painting loose oil sketches on location and working up more controlled versions in the studio. Later in his career, the studio-based work began to resemble the outdoor sketches in appearance.
see original
A special thanks to James Colman for his support, original ideas and help.