Ok so here is the amount of work I've been doing in my cast of the horse. I'm learning so much from treating it differently that what the main aesthetic of the school is. That is a smoother surface appearance, if you look at my other cast drawings or at other students work from the school you will see what I'm talking about. I'm still following the concept taught at school just I'm applying them into my own appreciation of the things I see, and how can I make it feel more alive than just have the object sit in space in front of me, beautifully rendered.Don't get me wrong, school is amazing!!! I'm just trying to find out, as my investigation deepens on 19th century painting and drawing techniques, how on earth those painters back then gave us pictures that breath and move in their confinement of the frame. Landscapes that make you feel the breeze, weather and what the artist felt in that moment in that place. Portraits that not only give us likeness of the person, but they rap the character and psychology of the sitter. Narrative paintings of events that we didn't experience or saw and yet there they are before our eyes as we were part of it.
That's an other thing I've been putting my head around... narrative painting. paintings that say something and there are not just art for art sake.
