Artistic Mechanics~ The ´Ebauche

Artists often do small studies before committing to a large canvas. There are different purposes for studies~ to select color, to work out the details of drawing, or to see the composition. The term ébauche refers to a study in which the artist looks at how the abstraction operates on a 2 dimensional surface.

I love the word, borrowed from the watchmaker, to describe the interior mechanism of timepieces. The parallel of understanding the visual forces or “what makes it tick,” is the essence of the ébauche .

This type of study has very little attention to fine detail or exact drawing. Rather, it is focused on shape, value, and linear integrity; to how the parts relate to one another. To use the watchmaker’s analogy, if one gear that is supposed to turn another doesn’t align, it must be moved to perform the function. So too with artistic mechanics; either the chosen subject is physically moved to the desired alignment, or if this is not possible, the viewpoint may be changed or artistic liberty taken.


Once the artist is satisfied with the arrangement, care is taken to ensure that the size of the final painting is in proportion to the ébauche. As the painting develops, detail is emphasized or subordinated with an eye toward maintaining mechanics of whole. In this way, the artist preserves her primary vision for the painting.

´Ebauches by Melody Phaneuf~

Study for Calling, 14 x 16, oil on canvas
Study for Stage Fort Park, 10 x 8, oil on canvas
Study for Partly Sunny, Gentle Breeze, 6 x 4 oil on board

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Melody Phaneuf is well known for her evocative landscape, still life, and portrait paintings. Her work is regularly on view at The Guild of Boston Artists, 162 Newbury Street, at Fenway Studios, Boston by appointment, and North Shore Art in Gloucester from May through October. Phaneuf has exhibited her paintings at The National Arts Club in New York City, Galerie Herouet in Paris, and with Art du Monde, in Japan.

Melody The Artist Home, founded with photographer and color specialist, Martha DiMeo showcases the artist’s original paintings on tumbled marble tile murals and coasters, fine art prints, and handmade note cards. Online ordering at MelodyTheArtist.com/shop

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Composing Paintings

Visual composition organizes space in the same way that classical music organizes time. All parts of a visual composition —line, color, value, shape, texture, size, and direction— are subordinated to a main idea. The idea is the intention expressed by the artist.

Compositional arrangements begin in a variety of ways. At times the artist may want to simply convey a mood with a decorative statement. Sometimes the idea is more complex and illustrative, such as expression of a myth, homage to a person, or historic era. Exploration of an elemental relationship, for example, the interaction of a certain combination of colors, shapes and lines can be the source on which to structure visual compositions as well. This aleatoric mode demands that the artist recognize a pattern, rhythm, or movement and what is evoked from that particular arrangement.

In still life composition, the artist arranges objects, choosing the lighting and color to best communicate the intention. In landscape painting, composition is the art of selection. It is essential to choose the vantage point that leads the viewer through the scene in the manner and at the pace intended to create a certain visual experience. In portraiture, a combination of arrangement and selection is required to best express the personality of the sitter.

Artful composition is quite abstract. The best representational painting isn’t judged on how well the artist emulates nature in paint; it is based on distinguished abstract structure. The way in which that structure affects us communicates certain ideas or moods much the same as musical structure does.

Fireworks may seem to be a decorative clutch of flowers and fruit amongst crockery. Compositionally, it is an exploration of the explosive nature of red in a field of its complementary color; and cyclical motion, with its relation to time and space. The whirling movement is balanced by triangular stability; the reverberating red echoes throughout, drawing the eye along melodically while the spots of light punctuate the darkness with a lively rhythm. The experience reminds me of watching a fireworks display, in which one attempts to follow one burst of light but is inevitably drawn to the next.

I “hear” this painting. The snap, crackle, pop against the sough and rattle pleases me. Still a work in progress, Fireworks is just moments from the finale.

Melody Phaneuf is a Boston artist, composing and painting at historic Fenway Studios. She is a regular exhibitor at The Guild of Boston Artists, 162 Newbury St, Boston. More photos of Fireworks in progress and the sight size method of painting can be viewed on facebook~ Become a fan and please visit MelodyTheArtist.com/shop.


Links~

• Aleatoric Composition
• Composition in Art
• Henry Rankin Poore on Composition