A Dialogue Between Lines and Floral Motifs in Painting
Chapter one
Aim and Objectives of the Study
The aim of this study is to explore the interactive role of lines as they affect the form and shape of flowers, while the specific objectives are;
- Toillustrate harmonious coexistence of line on the shapes and form of flowers,
- to create compositions in which the floral form is fully fusedwith lines
- to explore the possibilities of reducing these fully fused forms into simple lines and geometric
CHAPTER TWO
REVIEW OF LITERATURE
Introduction
This chapter reviews literature on lines and flowers, as well as artists’ works having either lines or floral. The artists’ works reviewed are categorised firstly under works rendered in lines, these works have emphasis on lines or traces of it, created by distinctive brush marks. Secondly floral paintings, these works have flowers depicted in them or were derived from floral inspiration. A total of sixteen works were reviewed.
Review of literature on Lines and Flowers:
Line is a mark made by a moving object or point having more length than width. A multipurpose graphic tool that could be used in creating different effects and impressions based upon its thickness, direction and character. It is an object of communication employed by humans since the prehistoric time. Shelley (2012) sees line “as a basic element of art referring to a continuous mark made on a surface by a moving point. A line is long relative to its width. It can define a space, create an outline or pattern, imply movement or texture and allude to mass or volume”. Line is used to suggest form, create textures and patterns, although it doesn’t necessarily have to be obvious but can exist by suggestion, as an edge of a form or the stroke of a brush. Wallschlaeger and Busic (1992) note that “Lines can bring meaning, symbolism and expression to visual forms and their message. As lines take on a visible shape or form through drawing they enable the artist to visually communicate ideas, concepts, moods and many types of information.”
A form can also be recognised as a line for two reasons as noted by Wucius (1993); if its breadth is extremely narrow and if its length is quite prominent. A line generally conveys the feeling of thinness, the extreme ratio between length and breadth of a shape makes it a line.
The earliest use of line for drawings has been traced back to the cave man, and the oldest of such cave paintings according to Fred (2011), are the spotted horses and negative hand imprints at Pech-Merle France, dated at about 22,000 BC. The earliest finds were the Bison found in 1879 at the Altimira caves in Spain, which dates back to about 12,000-11,000 BC. Later some were discovered in Lascaux in France which consisted of drawings and paintings of bulls, horses and stag, famously known as the Hall of the bulls.
In the 13th-century A.D. Chinese artists used transparent ink washes to create delicate atmospheric effects. The Encyclopaedia Britannica (2009) states that;
The line and wash technique was practiced in Europe from the Renaissance, and in the early 15th century Cennino Cennini gave detailed guidelines for reinforcing a pen drawing with the brush. The technique entered into common use in the 16th century and reached its height in the 17th century in the works of Rembrandt, Claude Lorrain, Nicolas Poussin, and a host of Italian artists. The technique was freely used to make preparatory sketches for paintings, with the pen line providing accurate details and the coloured washes (or brushstrokes) suggesting tone, volume, and atmosphere.
The line and wash technique was also used in the topographical drawings of the 18th century A.D, and in drawings of buildings. Recently line has been used more prominently as an end in itself, rather than as a preparatory stage, as evident at the advent of painters like Wasilly Kandinsky (1866 to 1944) and Piet Mondrian (1872 to 1944). Kandinsky by 1909 sought out a style in which colours, lines, and shapes, where freed from the addling occupation of depicting recognizable objects, and to be used in an advanced manner creating a visual language capable of articulating general ideas and evoking deep emotions. While Mondrian in the 1930s used rigid patterns of black lines in his works, replacing them in the 1940s with coloured bands, and then in place of the continuous flow of these bands, he substituted a series of small rectangles that merged into a rhythmic flow of colourful vertical and horizontal lines.
There are as many kinds of lines as there are feelings and ideas for the artist to express. Lines can be bold, wavy, thick, thin, zigzag, curvilinear, spiraled, diagonal, straight, short, long, concentric, rough and smooth. In light of the above therefore, different lines create diverse impressions when used in compositions as follows:
Horizontal lines have a feeling of stability and tranquility, therefore forms placed in a parallel position to the top or base of the canvas suggests a feeling of restfulness, thus compositions in which horizontal lines are predominant tend to have the same
CHAPTER THREE
METHODOLOGY
Introduction
The methodology adopted for this research is practice based, which is research grounded on practice and explorations in the studio for execution of works. This section of the research discusses the systematic approach to the study covering the various sources and processes of Data collection and the instruments employed in gathering it.
Data collection
The data for this study was acquired through the use of some methods and operational materials, such as direct observation, collection of life flowers, plastic flowers and leaves, photography, the internet, books, magazines and journals.
Observations
Observation of flowers was made during the several visits to the commercial flower garden along Isa Kaita road Kaduna. Consequently, drawings and sketches where made to fully appreciate the shapes, forms and true colours of certain flowers. This aided in acquiring the names of certain flowers and also generated high interest on the part of the local gardeners.
Photographs
Pictures of diverse species of flowers where shot in different commercial flower gardens located along Isa Kaita Road Kaduna, these pictures served as one of the main sources of reference in making sketches and graphic aid in the early stages of the research.
CHAPTER FOUR
ANALYSIS OF STUDIO WORKS
Introduction
This chapter presents the outcome of the data gathered and the explorations carried out in the studio. The researcher produced twenty six works which are analysed in stages as shown below.
CHAPTER FIVE
SUMMARY, FINDINGS, CONCLUSION AND RECOMENDATIONS
introduction
This chapter discusses in a nut shell the summary of the research. It also highlights some important observation made in the course of the experimental works carried under findings. The chapter also includes the conclusion and it’s ended by the researcher putting in his recommendations.
Summary
The study delved into finding ways of creating interplay between lines and the floral forms for painting expressions. Practice based research methodology was adopted for the study, and the researcher began by gathering relevant data for the study through; the collection of life and plastic flowers, observation, sketching and photographing of flowers. The tools used for information gathering were the computer, camera, scanner and books.
The exploration of data acquired was manipulated through paintings in the studio, which led to production of works categorised under two major categories; the Exploratory and the Developmental categories.
The Exploratory category was divided into two stages namely Representational and The Experimental stages. The Representational stage produced floral works that were in realistic rendition with subdued lines, a total of four works were presented. While the Experimental stage, produced works that lines gained prominence while the flowers were transformed into abstract forms, different types of media were explored producing a total of nine works.
The Development category was divided into three stages namely; “Geometric and Organic lines Infusion”, “Organic lines Infusion” and “Geometric lines Infusion” respectively.
Geometric and Organic lines Infusion, saw a combination of mechanical lines and curvy lines were used in making Plate XIV, which was simplified to produce Plates, XV, XVI and XVII respectively. Organic lines Infusion saw only organic lines used in creating Plate XVIII, which also gradually simplified into producing Plates, XIX, XX and XXI respectively. Finally the Geometric lines infusion used horizontal, vertical and diagonal lines to produce an abstract floral form as seen in Plate XXII, “Diamond”. This was further simplified to produce three more painting Plates XXIII, XXIV and XXV respectively.
Findings
Progressing through the research in a systematic way led the researcher to these findings:
It was observed that the use of lines fall into two majorcategories:
Firstly, line can be used as a means to an end; this is when line is used in its traditional role of bordering objects or as mere brush strokes.
Secondly, line can be used as an end in itself; this is when line is used for its expressive qualities as seen in Mondrian’s and Kandinsky’s works.
- The curved and curvilinear lines are more harmonious with the floral forms in realistic rendition compared to horizontal, vertical anddiagonal lines.
- It was observed that lines were more expressively used in abstract rendition in comparison to realistic
- In the course of interacting lines with floral forms, the lines gained more prominence as the research progressed, in the final stage the floral forms disappeared leaving only lines and
- These Plates, XVII, XXI and XXV could be displayed in different ways by rotating them in the most desired position of the viewer, thereby making them more
Conclusion
Flowers have for ages been a source of inspiration for many artists, their beauty has been appreciated even by the common onlooker. The path for this research was created by the many artists, who have created floral paintings in the past. Amongst them are the impressionists who have created the biggest influence on the researcher. Locally, the works of Jerry Buhari and Benjamin Garba have proved also to be of significant influence on the researcher. The experiments carried out in this project created possibilities for a dialogue between two elements to create a new artistic style.
Recommendations
The researcher recommends that further studies should be carried out in which the floral form can be made to interact with line, space and texture, thereby ushering new possibilities in painting.
REFERENCE
- Albert A. S. (1997). Sunflower Technology and Production: Madison the American Society of Agronomy. 5585, Guilford road No. 35,
- Amelia S. (2010). Flower Painting History. Retrieved 21 February, 2013from http://ezinearticles.com
- Andres Z. L. (1893). The Toast. Retrieved 11 February 2013from http;//www.skd.museum/…./kupferstich-kabinett….
- Anna P. (1999). The Tulip: Published by Bloomsbury 50, Bedford Square London WC1B 3DP UK.P 5-19
- Buhari J. (1989). Floral notes, an exhibition of paintings and drawings. Italian Cultural Institute Lagos
- Charles W. and Cynthia B.S. (1992). Basic Visual Concepts and Principles. PDF Retrieved 2 June 2012 from http;//www.pdfsb.com free books online
- David B. (2012). Flower Species Census. Retrieved 25 August 2012 from http://www.plant-talk.org/pages/28bramw.html
- Encyclopædia Britannica (2009). Flower. Encyclopædia Britannica 2009 Student and Home Edition. Chicago: Encyclopædia Britannica.
- Encyclopaedia Britannica. (2010). Line-and-wash drawing. Encyclopaedia Britannica Ultimate Reference Suite. Chicago: Encyclopaedia Britannica.
- Encyclopaedia Britannica. (2009). Lily. Encyclopaedia Britannica 2009 Student and Home Edition. Chicago: Encyclopaedia Britannica.
