Two More Sketches

Here are two more sketches for the portrait in the painting.

The Attendant

Here are a few more drawings for those of you interested in having a look at the on-going sketching process. I have a detail of the hands holding the picture frame as well as two ideas for the actual picture that she would be holding. More will be on their way but I’m leaning towards the second portrait drawing as I feel the first one may detract a little from the main theme.

I really like this pose of Venus’s attendant and so I did a drawing of it, stood back from the canvas (which already had the selected pose worked out on it), held it up to where she would be posed and had a look at how the overall relationships worked. Again, the picture she is holding in the drawing is at too slight an angle for my purposes and although I had her back in the studio to repose, it was impossible for her to hold the same position and have the frame at the angle I wanted it. Ah well, we do our best! At least I got a lovely drawing out of it!

The Composition

I cannot overemphasise the importance of drawing. Not only does it readily familiarize you with whatever subject you are dealing with, but it also establishes what will and won’t work visually. Pencil also allows you to work out the tonal qualities that your colours will take on. It is also a good place to work out your alternatives and visual conjectures.

In this first drawing above, I took it upon myself to depart from the original “Venus” composition. I was really pleased with the angle and the figure holding the frame. The drawback here is that the nude is no longer the centre of attention. She has been demoted to a compositional element, helping to hold the picture together with the woman holding the frame as the new centre of interest. I needed something that would bring my Venus more to the fore and so I proceeded with another drawing.

This second picture works well enough. The “Venus” is more prominent and the frame a greater interest to the eye. The lady holding the frame is not as interesting visually as she is in the previous image but for all intents and purposes, she will do. The only problem now was that I had accomplished an even greater departure from the Velasquez painting and now had to ask myself some very serious questions. Did I want to paint this image? I was still not entirely convinced about the position of the nude. There is more loveliness and sensuality in Velasquez’s nude. Is the bird’s eye view appropriate? Perhaps I should frame the composition a little lower; something more in line with the original composition.

The final sketch achieves what the Velasquez image accomplishes compositionally. I did, however, tighten the image by bringing the girl holding the mirror closer towards the centre and by leaning the framed picture in and at a greater angle and hence I was able to achieve a balance of shapes. This composition also ensured that I was able to use a horizontal canvas with measurements that were consistent with the Rokeby Venus, though it’s a pity I had to lose the wings.

Of course, these drawings are by no means the last word on image making and many a change can happen between pencil and paint brush! I have yet to do studies for the specifics such as the hands, feet or head but I do have enough information to draw and flesh out most of what I intend to do on the canvas. The canvas I am using is fine linen (cotton can lose its shape over time so I tend to avoid it when I want to do a major work). My next update will include a short video clip of the beginning of the canvas.