Further / Suggested Research:
Suggested artists: Euan Uglow and Antonio López García
Fig 1 The Diagonal, (1971-7)
Fig 2 The Table, (1971 – 1980)
There were several books on art and artists also noted though I had limited success in getting my hands on copies of these. However, Uglow was borrowed for a few months from the library – still have it on loan; but Garcia volumes were not found within the library system even after extensive searching by my local librarians. I have purchased a copy of “An Atlas of Anatomy for Artists”, which complements others I have such as Human Anatomy for the Artist by John Raynes
Antonio López García
What an eye for observation Garcia has, he observes and draws omitting some line and detail such as you would miss as you focus on different elements of an image. This selection of images mainly pencil is a fai representation of a wonderful body of work from this master. I prefer his drawings to his oil paintings though these oils have much to wonder at also.
One such painting is the image of “Carmencita Playing” (Fig 3 A young girl on the roof terrace of her house is absorbed in playing with her dolls and beyond this paly life we see real life carry on as the viewer looks past the girl to scene beyond. Thus we have have two very and opposite worlds cast alongside each other. The girls world may hold more interest for us as we may wish to avoid the harsh realities of the real world and what it brings.
Fig 3. Carmencita Playing, (1960)
The muted tones are what attracts me to this image. Garcia view he presents us seems to emerge from the gloom on an overcast and smoke covered sky. I was reminded of these muted tones when drawing the charcoal images in the project earlier in this section.
Fig 7 Almond blossom (1961)
In Lampert (2013) she notes.
“Uglow prepared for this ravishing portrait of Zoe by making the blue-glass beads necklace and giving her a wig to wear. She lies nearby on the black ‘examining’ couch in a position in which her breasts receive the most light. The picture took six years to complete, and it includes some of the most beautiful tonal transitions in all of Uglow’s work.”Extract from book noted #1 below.
In her book on Uglow Lampert (2013 Ixxi) writes
“Most people who have the opportunity to look for hours at one painting by Uglow find their eyes traveling over the surface, perplexed that marks, shadows and forms so limpid could crystalize conflicted emotions. The painter John McLean wrote, ‘These planes of Uglow stand for colour changes perceived with a keenness on might have said bordered on the hallucinatory, there it not reality that was in focus … His observation is so exquisite each discrete plane, each color rings out, like a note in a finely delivered song. The planes coalesce just like such sounds… This surface of a Uglow painting is beautiful. The frankness with which it reveals its constructions resonates as you read the continuum of form and space’.”
Fig 13. Nuria (1998 – 2000)
Uglow was a master of measurement.
He employed the Golden Mean in his canvas sizes, proportions along with other compositional devices. In his figure studies he often had his models adopt difficult and challenging poses, making life difficult for both himself and his models. Many of his works still retain the marking out from the initial composition noting where he has meticulously marked proportions and line. The preliminary sketches shown below indicate his process of marking the key points on his images, it seems more akin to an architect designing than a painter work.
Fig 15. Study for summer (nd)
Uglow was notorious for how long he would take to complete a painting. His models had to commit long term to posing for him. In his own words he is quoted in Painting Perceptions (2017) ….
“While I am painting, [my models] often go through a cycle of personal events. When one model first arrived, she had a boyfriend. Later she married, and by the time I was done, she was divorced.”
Uglow employed the Golden Section and other mathematical systems either as his canvas size or in his markings in the canvas. His drawing Study for Summer Picture shows his process of working out proportions.
Uglow’s paintings have a freshness of colour and tone that light up the image. This even seems evident in the paintings using more muted tones. An example of this is his painting “Brunelleschi’s Dome”. Fig 18.
The muted blues of the sky contrast with the reddish orange earth colours of the dome and other tiled roofs in this city roof top scene. Despite the predominance of blue, which covers about two-thirds of the canvas the painting, does not seem cold but a light warmth is hinted at and we guess we are witnessing the dome in the heat of a Italian afternoon.
In conclusion, I think I have only touched the surface with what I can find in these artists. I shall certainly be examining and reviewing as well as researching them further. Hopefully I can manage to track down one to view rather than rely upon the reproductions on-line or in print, which though marvelous can only hint at what the real version will show!
List of Illustrations
Fig 1 Uglow, Euan. (1971-7) The Diagonal, [oil on canvas]. At : http://paintingperceptions.com/euan-uglow/ (Accessed on 17 Jun 2017)
Fig 2. López García, Antonio (1971 – 1980) The Table, [Oil on board], At: (Accessed on 18 Jun 2017)
Fig 3. López García, Antonio (1960), Carmencita Playing, [oil on board], At: https://theartstack.com/artist/antonio-lopez-garcia/carmencita-playing-1960 (Accessed on 18 Jun 2017)
Fig 4. López García, Antonio (nd), Hands, [pencil on paper], At: http://www.ljplus.ru/img4/s/a/sagmal/garcia3.jpg (Accessed on 18 Jun 2017)
Fig 5. López García, Antonio (nd), Food, [pencil on paper], At: http://4.bp.blogspot.com/-A0JRh6gU8Is/UMoj02vN2MI/AAAAAAAAAGs/DSTa_z8kafQ/s1600/ANTONIO+LOPEZ+LITOGRAFIA.jpg (Accessed on 18 Jun 2017)
Fig 6. López García, Antonio (nd), Hand Studies, [pencil on paper], At: http://drawing-museum.org/2012/02/28/antonio-lopez-garcia-%D1%80%D0%BE%D0%B4-1936-%D0%B3/#more-11755 (Accessed on 18 Jun 2017)
Fig 7. López García, Antonio (1961). Almond blossom, [oil on board], At: http://www.ciudadpintura.com/SearchProducto?Produnum=25388 (Accessed on 18 Jun 2017)
Fig 8. López García, Antonio (1959), Woman on the Beach, [charcoal & pencil on paper], At: http://www.timlowly.com/a/lopezgarcia.html (Accessed on 18 Jun 2017)
Fig 9. Uglow, Euan. (1987-93), Zoe, [Oil on canvas laid on panel], In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 346. New Haven, Yale University Press
Fig 10. Uglow, Euan. (1982-3) Curled nude on a stool [oil on canvas] In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 318. New Haven, Yale University Press
Fig 11. Uglow, Euan. (1999) Peach I Young,] In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 394. New Haven, Yale University Press
Fig 12. Uglow, Euan. (1999) Study for Nuria,] [pencil on paper] At: http://www.paintingperceptions.com/wp-content/uploads/2010/10/5-studynuria_lg.jpg Accessed on 17 Jun 2017)
Fig 13. Uglow, Euan. (1998-2000) Nuria, [oil on canvas] In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 401. New Haven, Yale University Press
Fig 14. Uglow, Euan. (1971-2) Summer Picture [oil on canvas] In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 255. New Haven, Yale University Press
Fig 15. Uglow, Euan. (nd) Study for Summer [pencil on paper] At: http://paintingperceptions.com/wp-content/uploads/2010/10/7_Studyforsummerpicture_lg.jpg Accessed on 17 Jun 2017)
Fig 16. Uglow, Euan. Girl on arms and knees (nd [[pencil on paper] At: https://www.pinterest.co.uk/pin/286049013811278734/ Accessed on 17 Jun 2017)
Fig 17. Uglow, Euan. (1980) Reclining Nude [[pencil on paper] At: http://introdrawingandpainting.blogspot.co.uk/2007/03/methods-of-painters-euan-uglow-1932.html Accessed on 17 Jun 2017)
Fig 18. Uglow, Euan (1961). Brunelleschi’s Dome, [oil on board] In: Lampert, Catherine (2013) Euan Uglow: the complete paintings. Plate: 153. New Haven, Yale University Press
Lampert, Catherine (2013) Euan Uglow: the complete paintings. New Haven, Yale University Press.
Calvo Serraller, F. and López García, A. (2010). Antonio López García. New York, NY: D.A.P.