The aim of this thesis is to present the theme of facture in drawing and painting.
Theoretical part begins by defining artistic thinking and observation, both of which are essential even before the beginning of an artistic process. Furthermore, it is also important when reflecting upon an artwork made by somebody else. The thesis continues with an explanation of modulations within artistic thinking and the point where those modulations can no longer be avoided.
Through detailed description and examples, this paper demonstrates the difference between an active, passive and medial line and then continues by drawing attention to the morphological potential of a line, which affects our perception of a drawing or a painting. The part of this thesis which directly connects the theoretical and practical part is a chapter on fractures, specifically about fractures in artistic work of reference artists.
Analysing the fractures in the works of Janez Bernik, Egon Schiele and Willem de Kooning, this thesis sought a parallel between their works and those of my own. The latter were not only influenced by the artists’ fractures but also their thoughts about art and the work process itself. The end of practical part is dedicated to finding features of fractures in my works of art.
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