Making studies from other artists is a time-honored tradition. It's a wonderful way to get into the mind space of work you admire, have a more intimate appreciation for the techniques, and hone your skills.

For this project, I completed one study every two days for a month (15
pieces). I like working in a variety of mediums (oils, ink, gouache, watercolor) so I'll keep it open to mediums, but restrict myself from using color.

Color is yet another world to dive into, but I don't want to distract myself with too many choices. By sticking to black and white, I can focus on the design elements of the composition, the rhythm of values, and the play of edges (soft and hard). All these components create a beautiful symphony; they stand on their own.

Studies from the Masters - image 1 - student project

Figure study after Leyendecker | Oil on linen | 6x10"

Working small is trickier than working large because the margin for error is smaller. This means that a line that is even a centimeter off will have devastating consequences. I was pushed into using smaller brushes and probably overly confined myself, but I wanted to use a small pad of linen papers I had.

Studies from the Masters - image 2 - student project

St. Pauls Hands after Hendrick Goltzius (1589) | Pen and ink | 6x10"

Here I've cropped in on one area of the piece that I loved - the hands. Going about this with a nib dip pen was certainly slower than using a micron, but there's a certain satisfaction when you feel the nuance of the flow of ink.

Studies from the Masters - image 3 - student project

After Loves Shadow by Sandys (1867) | Oil on linen | 6x8"

I only work from the colored reference piece so that I do the work of figuring out the values on my own. I generally work from the background forward and from the dark shapes to light shapes.

Studies from the Masters - image 4 - student project

After Count of Monte Cristo by Schaeffer (1928) | Oil on linen | 7x8"

Even though the details on this subject's face are compressed in value and soft from the backlighting, no character is lost. The highlights aren't very light, but they read strongly from a dark-dominated scene.

Studies from the Masters - image 5 - student project

After Levitan (1860-1900) | Oil on linen | 7x10"

Here's an example where omitting color drastically abstracts the image. This landscape, with voluminous clouds hanging over receding huts, is more difficult to read without color to break up the elements. It was still a good practice.

Studies from the Masters - image 6 - student project

After Ellen Terry as Lady Macbeth by Sargent (1889) | Oil on linen | 5x10"

Another crop down of the part I liked most in the painting. Her manic expression was just too enticing not to focus on.

Studies from the Masters - image 7 - student project

After Man in Bedroom by Coll (1920) | Ink on paper | 6x8"

IMore of a loose block-in here, but it shows how masterfully Coll arranged his darks to set a stage.

Studies from the Masters - image 8 - student project

After Fence by Zorn (1913) | Pen and ink | 5x7"

Here's a great example of a simple scene, not too much work, and yet Zorn uses the directional strokes of the pen so beautifully. Notice the line vanishing at the woman's shoulders - your mind knows to fill in the information (the arm doesn't cease to exist, it's bathed in light). Little tricks like this remind me that choosing what to omit is just as important as what is included.

Studies from the Masters - image 9 - student project

After Morgan's Point was at his Throat by Schoonover (1935) | Oil on linen

Studies from the Masters - image 10 - student project

After The Sevres Vase by Shannon (1923) | Oil on linen | 7x8"

One of Shannon's masterpieces and such a lovely piece to try my hand at.

Studies from the Masters - image 11 - student project

After Le Pater by Mucha (1899) | Watercolor on paper | 5x9"

I wasn't able to capture the softness of the original illustration, but I did enjoy the figure drawing.

Studies from the Masters - image 12 - student project

After The Lament of Orpheus by Bouveret (1876) | Oil on linen | 5x8"

Studies from the Masters - image 13 - student project

After $2,000 Reward by Cornwell (1924) | Oil on linen | 5x8"

I've always loved this piece for its dynamic shapes and contrast.

Studies from the Masters - image 14 - student project

After Samson by Solomon (1887) | Oil on linen | 8x8"

Again, a crop in from a much larger scene. I loved doing those final white highlights on the gems and eyes.

Studies from the Masters - image 15 - student project

All together now! It's so rewarding to see a batch of studies together.

If you choose to do some master copies, be sure to ask yourself what it is you want to learn most. Every painting is a chance to ask questions (how did they do that?), make valuable mistakes, and deepen your appreciation for what you already admire.

Jhenn Whalen

Without struggle, there can be no progress.

23

14