Backgrounds

[Mischa Milosevic]

I am posting some choices one thinks about when considering background. Naturally, many more possibilities can be considered but these are the simplest choices in this case. When considering other more complicated backgrounds one should first the mood, the balance or the relationship of the elements in the background to the subject. There can be and often are many elements within a painting and most often but not a rule one element dominates.

Allan posted a masterful work and example of different elements in a background. Here one must consider what the dominating subject is and I am sure there could be a debate in establishing this point. Still, debate should not be the point rather a understanding and ideas on how it all works. Let us say the figure of the artist is the subject and not the mirror or the letters etc. etc. Here we see the artists careful consideration and the flow of light upon self. The hand in front seems to be the lightest part and respectfully the front of the overcoat. Now, when considering the head or the face we can see that it is in shadow and it could work fine with the light of the window. When we look at the hat it seems it would be to dark against the light of the window and it probably would dominate. Let us say it is the light of the window behind and not the dark of the shade, the hat the value of the hat would change at least the edge would have a halo then.

We could go on and on for this painting has so much to offer and teach us. So, when learning about backgrounds and what makes them work its best to start simple. One can start simple in black, white and gray or in combinations of simple colors. A understanding of how color relates is important and by experimentation this can be better appreciated.

Sharon has posted some excellent examples of subject to background relationships. There are many good points one can absorb when Eastern art is considered the technique, the use of color and color relationship. Many lifetimes of observation and study is at our fingertips here. How and what one wishes to accept and incorporate is the choice of the individual. Sharon has found her nitch and incorporates and balances these ideas from the East quite well. kudos Sharon.

For the benefit of us who are new to this field of backgrounds, I would appreciate a balanced meal. When considering composition as it is introduced in the relationship to background again one should start simple and it does take years of experimentation before one fully understands the balance between all elements within one painting.

If you are lassie and you would like a quick fix, to solve a problem, then find a painting that is close to what you have and see how you could use the ideas.

[Sharon Knettell]

Alan,

That is a stunning Orpen, a visual challenge and a color delight.

[Alexandra Tyng]

Originally Posted by Mischa Milosevic

I What is the subject her backgrounds and how to or backgrounds and the philosophical view?

My intent was to get everyone to contribute their ideas on backgrounds--NOT to preach. As I said in the first post, I'm not trying to be the authority on backgrounds, or anything else for that matter. So, Sharon, please do not delete anything. I find it all fascinating and thought-provoking.

[Allan Rahbek]

Two other by Orpen.
One with a light background and one dark.
I think that the choice of background is based on the needs of the painting, the background is there to emphasize the person.
If he had chosen the dark background behind the black suit it would have been a very dark painting.
For the same reason i think that Orpen left the lower painting in the vignette state and left some of the white canvas. That way he have the dark background to emphasize the head and the light canvas to secure that the general impression of the whole painting is not too dark.

[Mischa Milosevic]

Allan, i hope you found the Orpen page ok and it is to your liking. Her is, I believe, a excellent example of background and subject unity.

[Allan Rahbek]

Originally Posted by Mischa Milosevic

Allan, i hope you found the Orpen page ok and it is to your liking. Her is, I believe, a excellent example of background and subject unity.

Mischa,
I found it now, there are many wonderful paintings in a fine quality. Here is the the site: http://commons.wikimedia.org/wiki/Ca...:William_Orpen

Who is the artist of your woman portrait ? It looks a bit like Sanden's technique.

[Mischa Milosevic]

I have a number of portraits by this artist but for the life of me I cannot tell, by the signature, who it is. I think it is a living artist though and I do not think it is Sanden.