On Sunday 7 December we looked at Giacometti’s drawings and considered his use of line and his ability to respond to light falling on the figure and to create form and space without using tone in a formal manner.
SPATIAL DRAWING ….
Giacometti’s late life drawings are exquisite tracings of his determined attempts to describe what he saw in the model. His pencil described his anxiety but also his mastery of construction, scribble and space. Today we drew, using the pencil as a gestural tool. Drawing in oil pastels naturally followed, adapting and building upon the discoveries that come from such uncompromising looking at our subject, Ian.
Resisting a likeness = creation of a portrait.
Giacometti: ‘What I‘m doing is negative work, you have to do something by undoing it. Everything is disappearing once more. You have to dare to give the final stroke that makes everything disappear.’
Giacometti always used a 3H or 4H pencil on BFK Rives (cream) with traces of eraser. Later he used ball-point, with its tendency to seduce the hand with curves and loops. He also liked line drawing with greasy litho crayon, because there can be no corrections.
We responded to this in graphite pencil, ballpoint pen and then charcoal, oil bar and oil pastels.
Drawing in pencil: for taking ‘notes’
Drawing with ball-points: for ‘copying’
Drawing with charcoal: for space
Drawing over charcoal with Oilbar: for atmosphere