Keene Wilson

Old Masters and Abstract Value Patterns

10/19/2017 2:42:14 AM

While we don’t have photographs of the scenes painted by most recognized masters, it is obvious that they typically modified what they painted to fit an underlying abstract structure rather than simply copying what they saw.

John Singer Sargent

Sargent was a master at not only creating an interesting abstract structure, but of doing so in a manner that flattered his subject. In the painting of Mrs. Abbott Lawrence Rotch notice not only the value pattern, but how Sargent painted:

the length of her head and neck (chin well above shoulders, narrow head, high ribbon),
the vertical line, creating a sense of slimness, of her arm, neck and hair ribbon (with the length of a forearm concealed by cloth)
a large (flattering) chest with evidently small (reality?) breasts (essentially there is a disconnect between the chest above and the waist below – disguised with lace)
vertical highlights, also implying a slim figure, with hips selectively hidden by the cloth and the brush marks in her lap,
an apparently hyper-thin waist, yet allowing for a realistic girth hidden behind her arm and in the dark front.

Note: Cover her left hand, her waist or the top of her head and imagine where they should be. Then slowly uncover them and you will find that Sargent exaggerated the length of her forearm, the length of her head, height of the ribbon and off-set her waist. All in the interest of flattery.

While we don’t know what the model really looked like, I suspect that Sargent selectively incorporated sufficient recognizable characteristics for Mrs. Rotch to see her likeness in what she knew was a flattering depiction.

John Singer Sargent - "Mrs. Abbott Lawrence Rotch, 1903"

Over the years, I have occasionally used Photoshop to analyze the underlying structure of various paintings. In the case of “El Jaleo” note the rhythmic, almost musical, aspect of the value pattern as well as the dynamic posture of the dancer.

"El Jaleo" simplified and posterized

"El Jaleo" - Sargent

"Muddy Alligators" is another Sargent painting with a recognizable pattern, this time a watercolor. Note not only the connecting lights as a focal point, but the verticals framing them.

"Muddy Alligators" - Sargent

"Muddy Alligators"

upside down posterized

Sargent - "Oyster Gatherers of Cancale" color and greyscale

The “Oyster Gatherers of Cancale” merges into a clear value pattern with figures linking either directly or by proximity.

Sorolla

Similarly, Sorolla’s “Pescadores Valencianos” merges figures and objects into a cohesive value pattern.

Sorolla - "Pescadores Valencianos" original and upside down posterized

Bouguereaux

"Rest in Harvest" original and Photoshopped color/value pattern

The color/value pattern in Bouguereaux’s “Rest in Harvest” is so stark as to seem almost a block-in. Though he is often thought of as the pinnacle of realism, the true color and value separation would never have been so distinct.

Van Gogh

Van Gogh - "Two Crabs", in color and greyscale

Van Gogh’s “Two Crabs” is not so much a value pattern as a study in color contrast. Notice not only the play of red against its green complement but the use of contour lines (wire framing) to depict structure. I have seen this painting in person and was astonished how vivid the colors were – so much so that I don’t believe it is possible to convey that vividness in a reproduction.

Degas

Degas is highly regarded for his compositions.

Degas - "Le Tub"

Degas – "Dancers"

Degas - "Fin d'Arabesque" (original and Photoshopped)

Degas – "Dancing Class" (original and Photoshopped)

Degas - The Ballet Class (original and Photoshopped)

Degas - "Dancer in Green" original and posterized

Degas - "Dancer on Stage" original and upside down photoshopped

Andrew Wyeth

Andrew Wyeth – "Helga"

A modern master, Andrew Wyeth is another artist known for realism but he described himself as an abstract painter. I’m confident he was referring to the abstract value structure underlying his paintings. Nevertheless, some of his paintings are so abstract as to require a second or third look to see the realism.