Monday, July 28, 2008

Lion Swirl

I'm a little pretentious in comparing my glass art paintings to those by the, as some critics would argue, father of the 19th century Romanticism movement, Eugene Delacroix. Yet that's just what I'm about to do! As I started to sketch this design and choose the colors I would use to color the glass, I was immediately reminded of the Delacroix painting, Arab Attacked By Lion. I've copied a picture of the work (below this paragraph) for those who don't remember Art History 201: 19th century European Art, though honestly I don't know how you could forget it, the effects of those genius artists still resound throughout modern design and shape much of what we envision when we think of museum art. Anyhow, I never start writing these things with the intention of sounding like a huge art history snob, but I think my affection for the subject can come across as a bit snooty. Sorry folks. I'll give that subject a break, but not before I tell you why I think that my glass painting, which I've named Lion Swirl, recalls the aforementioned Delacroix piece. One of the tenants of Romanticism is the movement captured by the artist. The piece is a shot of action, and a dramatic moment in the action, at that. In its own time, it was revolutionary to convey so much energy, dynamic movement--even the weather in the background calls to mind a turbulent storm at its breaking point. The eye is guided through the painting in a circular motion. One glances from the fierce lion to the Arab with his sword ready to strike and continues back around the canvas in a swirl. And in my painting, the colors and the shapes cause the eye to follow a similar swirl. The red and gold pallet is broken up with a smattering of purple and white dots.
I hope you like it. It's the last of this type of painting that I will be presenting for a while. I've run out of glass!

At the top is a shot of the whole piece. Again, as with all the glass paintings, it's really hard to take a good picture without the flash on the camera messing the whole thing up. One of these days I'll figure out a good way of taking pictures of these paintings. And below, I show you a close up of the picture so that you can see it from a different angle. Perhaps with this picture below you get a better idea of the swirly nature of the lines. I don't really know because, of course, I know what the real thing looks like. And finally, I unveil a silly picture of the painting propped up against a zebra print cloth (that's my shower curtain to be exact!). I just wanted to show how transparent the glass is. Sometimes you see the various backgrounds and start to think that the painting isn't see through, but it is.

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