“Faces” Worksheet Answer the following in the boxes provided:- 1. Which portrait is painted in oils, on a wooden panel? a) Mona Lisa b) Weeping Woman c) Democritus 2. Which portrait is the only photograph? a) John by Chuck Close b) Im too sad to tell you by Jan Bas Ader c) Girl with hair ribbon by Roy Lichtenstein 3..Which portrait was produced in 1937 a) Weeping Woman b) Shout c) Head of EOW 4. Which of the portraits is the earliest? a) Democritus b) Mona Lisa c) Merry Musician 5. What is Marc Quinn‟s portrait made from? a) Clay b) Stone c) Blood 6. Which portrait features a famous past Port Talbot citizen? a) John b) Head of EOW c) Lord Heycock 7. Which sculpture is made from Ancaster stone? a) Goggle Head b) Angel of Mercy c) Shout 8. How many portraits are made from bronze? a) 5 b) 2 c) 3 9. Which is the largest painting? a) “John” by Chuck Close b) “Self Portrait” by Helen Scherfbeck c) Democritus by Diego Velasquez 10. Which is the most recently produced portrait? a) Goggle Head b) Double Sided Face c) Shout In your sketchbooks:- Choose your favourite portrait painting, and your favourite portrait sculpture. Describe why you like them in separate paragraphs, write a little about the artist, but more especially what ideas you could transfer to your work after having studied these. Make a sketch of each one on one page of your sketchbook. The following is a brief account of each painting and artist:- “SISTER” by Willie Birch (1942 - ). Painted with acrylic paint on papier mache with found objects in 1991. (24inches high). This is a traditional Western form of sculpture – a bust on a pedestal – which has been adapted for this non-western figure. Using inexpensive, ordinary materials and festive colours, the artist pays homage to black womanhood with this proud goddess – like effigy. The surface of this altar like object is covered with found materials, harking back to African tradition. Th nails for instance relate to imbueing the object with spiritual power. “HEAD OF EOW PROFILE” by Frank Auerbach (1931 - ). Painted in oil on board in 1972. (20inches by 17inches). The features of the face emerge from a mass of oil paint, scraped and daubed on the picture surface. Every slash of the brush or palette knife searches for a painterly equivalent to flesh and light. The built up paint surface is so cake with the varied approaches that the final, impatient result appears molten. EOW are the initials of his girlfriend, Estelle West. “WEEPING WOMAN” by Pablo Picasso (1881 – 1973). Painted in oil on canvas in 1937. (24inches by 19). The searing emotion of grief experienced by this distraught woman is reflected with great intensity in the harsh colours and rigid paint strokes. The attention is immediately focussed on the cold blue and white area around the mouth and teeth – her eyes and forehead are dislocated – literally broken up with sorrow. The way the woman‟s face has been distorted and fragmented is a development of cubist ideas. Picasso is considered to be the greatest artist of the twentieth century. “MONA LISA” by Leonardo Da Vinci (1452 – 1519). Painted in oil on a wooden panel during the years 1503/6 (30 inches by 21). The Mona Lisa is famous all over the World for her enigmatic smile and for being one of the few paintings by the most esteemed of the Renaissance masters, Leonardo Da Vinci. The identity of the sitter remains unknown – some debate still rages as to whether the figure is indeed a woman or a man. The painting‟s beauty lies in the oil painting technique “sfumato”, created by Leonardo, allowing the artist to produce subtle, atmospheric shading. Leonardo produced few paintings in his lifetime, but used many drawings and filled many sketchbooks. “HEAD OF SCREAMING MONTSERRAT” BY Julio Gonzalez. A bronze sculpture, made in 1942. 12 inches high. A peasant woman, wearing a headscarf, tips back her head and cries out in pain. By calling her Montserrat, after the mountains outside Barcelona, Gonzalez relates the suffering of the common people during the Spanish Civil War to the rough enduring nature of the Spanish landscape itself, This particular work, made during the Second World War, expresses the distress and anguish endured in wartime. “SELF PORTRAIT” by Helene Scherfbeck (1862 – 1946). Painted in oil on canvas in 1912. (16inches by 16) The artist was 50 years of age making this portrait, influenced by Edvard Munch, and having a melancholic, solemn air. The colours are muted, the only bright areas provided by her one aquamarine eye, echoed by the colour of her collar. “SELF” by Marc Quinn (1964 - ) made in 1991 from his own blood, stainless steel, perspex and refrigeration equipment. (23 inches by 123 inches) A cast of the artist‟s head has been made from eight pints of his own frozen blood – the exact amount present in the human body. It has then been presereved within a refrigerated container and placed on a plinth. Quinn offers a brutally realistic perspective on the nature of self - portraiture and self- expressions as a whole, confronting the viewer with ideas of mortality. “GIRL WITH A HAIR RIBBON” by Roy Lichtenstein (1923 - ) painted in oil and magna on canvas in 1965 (48inches by 48). Painted like a close up frame from a 1950‟s comic strip, this work shows an attractive blue eyed blonde, turning towards the viewer. Her all American glamour, and anxious expression suggest a narrative in which she is the vulnerable heroine in jeopardy. However it is a gentle parody as well as a homage to contemporary culture, treading a fine line between commercial and fine art. Lichtenstein uses minute circles in his picture reproducing a technique used in newspaper and magazine printing. “PORTRAIT OF A DEGENERATE ARTIST” by Oskar Kokoshka (1886 – 1980) painted in oil on canvas in 1937 (43 by 33 inches) All the contours and anxieties of the artists face are outlined in a multitude of colour tones to suggest his anxiety and anger. The “degenerate artist” theme comes from the fact that Kokoshkas innovative art was suppressed by the Nazis during the Second World War. The violent brush strokes appear untidy, but behind it is control, bringing together the jarring colours into a structured whole. This self portrait is an example of “Expressionism”, an artistic movement Kokoshka was very committed to. “JOHN” by Chuck Close (1940 - ) painted in acrylic on canvas (100 inches by 90) in 1989. This large scale painting appears unexceptional, and yet there is something about it that is disquietening. Appearing a straightforward portrait, there are changes of focus and scale. The blurring around the shoulders and ears makes the face loom towards the viewer. Closer inspection reveals the brush strokes and delicate application of paint to what is a huge portrait. This is all the more remarkable when taking in to account that Chuck Close is a paraplegic with limited movement. His latest works of art have become abstract, using images made up of multi-coloured dots, only to be viewed from a distance. “DOUBLE SIDED FACE” by Sean Kehoe (1962 - ) sculpted from a fallen oak from Margam Park (36 inches high) Sean Kehoe is an art teacher at St. Joseph‟s Comprehensive School in Port Talbot, as well as being a sculptor who is beginning to make a name for himself. Sean likes to work with wood, using a hammer and chisel to bring to life the thoughts of his fertile imagination. Sean has several examples of his work on display in Margam Park, the biggest being his “Millennium Gnome”. The 12 foot high sculpture, on sale for £15,000. was carved out of a six tonne poplar tree trunk salvaged when ground was cleared for the new Tesco store in the heart of Port Talbot in 1999. “I felt sick of all the politics and artistic claptrap talked about the Dome”, said Sean, “I wanted a simple earthy idea that people would find amusing and stimulating. It‟s crazy asking people to pay £20 to enter the Dome. They can come and see my Gnome for free.” Sean researched garden gnomes and discovered that in folklore they are little men who mine gold underground. “My gnome has a sack of gold over his shoulder and instead of it being full of gold it is full of knowledge from the past 2,000 years” he said. “The Gnome has a charismatic smile and the idea is that he is content and hopeful for the future.” For the woodland trail, Sean used the theme of the Mabinogion to turn the experience into a mystical kingdom. A once overgrown area of the Park, near to the main entrance, now has a walkway through woodland, passing the enclosure for the park‟s wild boar, completed this year. The wood carvings feature images from the Mabinogion, the Welsh books of myth and legend, as well as fairy tales and mystical stories. One of the sculptures features a scaly beast with a gruesome meal in its jaws, while others include garish head sculptures integrated into the landscape as well as wooden furniture and signposts. Sean uses wood stain dyes to add colour to some of his work, but always in keeping with the surroundings. “LORD HEYCOCK” by Robert Thomas (1926 – 1999) a bronze head cast, made in 1971, 30inches high. Robert Thomas was a Welsh sculptor of considerable repute. He died in 1999 aged 73, becoming famous for his bronze incarnations of the Princess of Wales, (the only artist to have sculpted Lady Diana from a sitting), Aneurin Bevan and Viscount Tonypandy. Thomas worked from his studio in the garden of his home in Barry, South Glamorgan, where his vibrant, lifelike faces and statues of the famous were designed, but also where fantasy sculptures like “Captain Cat”, now on Swansea Marina were produced. His passion started aged nine, when he dug out mud from the river - bank near his boyhood home of Cwmparc in the Rhondda. Inevitably it became his career. As his understandable recognition as a sculptor increased, celebrities such as Cliff Morgan, Geraint Evans and Lord Heycock sat for his modelling sessions. For his bust of Princess Diana, Thomas visited Kensington Palace for sittings an hour at a time over three months. Thomas liked to “get to know” his subjects. For representations of people no longer with us, such as his Aneurin Bevan in the centre of Cardiff, he would read about them and talk to people who knew them, photographs only show one dimension, he felt. His sculpture, “Lord Heycock” is representative of several of his very realistic sculptures which feature notable dignitaries of the Principality. As Thomas says, “A statue has to capture the „feel‟ of the personality. The right shaped nose, the correct hairstyle, the facial expression – they can all be styled by a competent sculptor to resemble the man or woman. But, on their own, such detail would not add up to much of a sculpture”. Thomas‟s Lord Heycock therefore sums up the strength of character, and steely determination, of one of Port Talbot‟s most famous champions, and characters. The sculpture is on display in the Orangery, Margam Park. “THE SHOUT” by Glynn Williams. Made in 1982, sculpted out of a block of Ancaster stone. Glynn Williams began his artistic career under the teaching of Tom Wright in Wolverhampton College of Art, in the late 1950‟s. Peter Fuller, an art critic of the time, described William‟s early work as that produced by a sculptor “born a virtuoso carver, one of those rare individuals who can cut, chisel and find convincing sculptural forms with such facility that he is barely aware that he is gifted”. William‟s favourite medium for sculpting is stone, and almost all his large output of work is carved out of this medium. Glynn Williams is now sculpture professor at the Royal College of Art in London. Glynn Williams has had many sculptures exhibited in Margam Park, two of which remain there today. One is “The Shout”, a large sculpture made out of Ancaster stone, which was produced in 1982. It was placed in a more prominent position in the deer park during William‟s retrospective exhibition in 1992. The previous siting overlooked the entrance and Orangery car park, and was in a relatively bleak area, possibly a little more in keeping with the message Williams was trying to get across. The sculpture now is to be found inside the Orangery gardens in a relatively hidden spot under sheltering trees. It shows William‟s slightly abstract, chiselled surface, and is roughly life size. The sculpture itself features a mother cradling the lifeless body of her baby. The face of the Mother is contorted into a wide mouthed scream as she suffers the pain of the death of her child. The sculpture therefore is about the futility of war, the abandonment of normality, the suffering of innocent victims. The mother seems to be screaming to the World, “Why did this have to happen!” “MERRY MUSICIAN WITH VIOLIN” by Gerrit van Honthorst, painted in 1624, oil on canvas. It is very difficult for anyone to hold a smile for longer than a few minutes – it therefore makes this portrait by Van Honthorst remarkable – a convincing portrait of a fleeting moment captured using a medium that must have taken the artist months. The detail in this picture suggests almost a photographic quality “DEMOCRITUS” by Diego Velasquez, painted in 1628, oil on canvas. The face Velasquez has painted is smiling, not only with his mouth, but with his eyes, and the lines of the face have an uncanny accuracy. The face is painted with careful regard to lighting, a severe contrast used to give the face structure and dimension. “GOGGLE HEAD” by Elisabeth Frink (1930 – 1993). A bronze head cast, made in 1963, 62 cm high. Fascinating and frightening, the menacing head, its identity hidden by shiny goggles, suggests deliberate violence. It evokes images of modern day bad men, henchmen, dictators. Frink made many series of heads representing her own feelings of the complex nature of mankind , its strengths and its vulnerabilities. One of her sculptures is on permanent display in Margam Park.