paintings and portraits

study sheet for Museum of London pelisse

Costuming and research have led to an unexpected side issue- creating images and records. It began with recording in galleries so dark that the camera could cope effectively enough. So sketch book and pencil came out and in situ records were made. The first was the purple spencer on display at the Castle Museum York.  Colour was added later at home.  Drawing requires attention and analysis, it really does make you look and try to understand as well as being enjoyable in its own right. The London pelisse sheet was done from their photographic record - excellent website! and such helpful people. This was information needed to start making- construction, proportions and details. While it cannot take the place of handling an extant garment it made working from a good photo record as viable as from the limited view offered in most museums. ( how I wanted to see inside it!)

 

   A similar question led to studying the fashion plates  available from such periodicals as 'La Belle Assemblee' and 'Ackermann's Repository' ( Googlebooks) - how were the garments worn, what did a complete costume look like, skirt, bodice, sleeve length, what accessories were put together. It seems that the exaggerations of fashion drawing are nothing new. There was a similarity in pose, tall, willowy form and a doll like demure expression. Copying, trying to imitate the style of coloured prints with water colour over pencil line, was quite productive  especially when trying to show extant garments ( like the  London pelisse in pale blue)  or my own creations. - The highly mannered fashion plates led to looking for more visual information so portraiture of the period of the costume became an area of research. Society painting is just as open to fashion, it is just as much a show off article as the latest dress, the style of brush work, the poses, the overall presentation change through the 18th and 19th centuries, ranging from formal court portraits of Marie Antoinette to informal and engaging work, to the drama and theatrics of Raeburn or David. 

 

 I have been working from Thomas Lawrence as a start, imagining what my small headless body form  (Gwendoline) could look like with the clothes I've been making. There is a direct quality as well as a boldness which appealed - there is still a touch of Romantic drama but without  sentimentality. Some Gainsborough crept in with the full length, but the pose in front of landscape was fairly common. Gwen has made guest appearances in various periods, inspired by Watteau, Maurice Quentin de la Tour as well as Liotard. It has depended on the date of the garment and purpose- a formal portrait of the pet en l'air or caraco jackets would have been inappropriate - these were domestic wear. So seated poses while sewing or drawing( obvious choices for me) in an interior were chosen. 

 I have made one digression into the late 19th century, and this was for the Fisherwomen of Whitby task. I was loaned a replica costume to work from- to make and record - just to try working from a real garment. When looking at the project as a whole the art work was the most rewarding.  The study sheet has measurements, various views  details and colour matches. For seeing how the garments were worn I had to find a whole new range of artists, some local photographers such as Sutcliffe, as well as finding museum pieces and exhibitions. I produced 2 context paintings - one looking forward into 20thC style and the other far more Victorian.

 

 

 

The last group of the historical costume work is a few of the individual work done from photographs kindly offered by re-enactors. 

 

 

The body of work shown on this page  is only part of the output of this Summer and Autumn, if you are interested in seeing other work then try the SAA website - I have a gallery page there with a few images in a variety of modes and media. If there is anything I could do for you please contact.