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Reclining Nude II Print

Andy Dobbie

United Kingdom

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9 x 12 in ($51)

9 x 12 in ($51)

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$131
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About The Artwork

This is another nude, painted in acrylic on a deep edge canvas. It's another attempt to investigate methods of representing the human (female) figure in a style which seeks to emphasize the planes of the figure in space, as well as the interlocking shapes between the planes. It's based on a study from a recent life drawing class. The thinking behind the painting developed during its execution. At various stages I was thinking of works by Philip Guston, Jean Helion and Paul Klee. Once again, I was also thinking of Douglas Cooper's (1970 p.33) book, "The Cubist Epoch", in which we read that Picasso said of his own pre-Cubist painting entitled 'Dance of the Veils (Nude with Drapes)', 1907, that it should be possible to "'cut up' his canvas and having reassembled it 'according to the colour indications... find oneself confronted with a sculpture.'" This painting is part of a developing series in which, once again, I'm seeking to investigate and understand how to use those - notionally 'simple' - colour dimensions of hue, value and saturation so as to encourage the viewer to confront the contradictions inherent in representing a 3 dimensional subject on a 2 dimensional surface. If the viewer is made to feel that the image portrayed is oscillating between abstraction and figuration, whereby, one minute a particular bounded plane is simply an abstract flat colour shape, then the next is recognisable as a foreshortened thigh projecting into space, then this painting will have achieved its objective. Dimensions: 60cm x 80cm, supplied 'unframed' on a deep edge canvas which has been painted, so it may not need framing, depending on personal taste.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:9 W x 12 H x 0.1 D in

Size with Frame:14.25 W x 17.25 H x 1.2 D in

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I'm an Anglesey-based artist who creates colourful, geometrically fragmented paintings in oils and acrylics and bold, angular welded metal sculptures inspired by the human figure to investigate how we see, and understand, three dimensional 'form' in the physical world around us. My work examines the way light strikes the planes of a figure; how the figure casts shadows on itself and its surroundings; how the shape of the figure creates negative space within and around itself; how movement around the figure changes our perception of these shapes, shadows and negative spaces; and, finally, how we interpret this complexity of visual signals to build a mental picture of the form of the figure and our orientation to it within a Cartesian space. The human figure, being both infinitely variable and also instantly recognisable (assuming a few hints and clues are proffered), makes an ideal motif because it can be simplified and distorted whilst still remaining identifiable. Concepts that have inspired my approach to my work include; • The Modernist period of art, especially the Cubist and Vorticist art movements; • David Hockney's various discussions about the dominance of the 'monocular view' in art, together with his experiments with photographic 'joiners'; • The course on 'Visual Perception and the Brain' by Dale Purves MD, particularly the section on the 'The Inverse Problem' as it relates to optics; • E.H. Gombrich's use of the phrase 'schema and correction' in his book, 'Art and Illusion'; • The classic Father Ted sketch where he tries to explain to a confused looking Father Dougal that the toy plastic cow Ted holds in his hands is 'very small' whilst the real cow on a distant hillside is 'very far away'!

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