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Statue painting

To prepare for our sessions with the life model from Thursday week onwards, I'd like to spend next session practicing how to model the human form in paint. The main advantage of painting a statue is that it is uniform in colour and material and so easier to distinguish the contours of the shape. I like these two examples by Samuel John Peploe and Georgio de Chirico because you can see the modelling with light and shadow.

As part of your research I'd like you to look into why it is easier to paint a form from a photo that is upside down. I've mentioned the book "Drawing on the right side of the brain" by Betty Edwards which has great exercises you can do to allow your brain to see the relationship of forms easier.

On Thursday we're going to try a "tonal" sketch of a statue using dabs of paint to create the form rather than drawing the figure and filling it in. We will need to be using the full length of the brush to distance ourselves from the painting and see the image as a whole. I'll get some images of statues prepared so you don't have to bring examples in.

As requested these are the names of the painters from last Thursday's examples. Gaugin, Vuillard, Bonnard, Matisse, Hammershoi, Diebenkorn, Sickert, Tuymans, Ethel Sands, Harold Gilman, Caroline Walker and Carlos San Millan.

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