My Changes:
Added digital paint (instead of keeping it just charcoal) with sepia shades and gave details more definition.
Things I thought/Questions I asked:
Why is this poor woman so sad? And it feels like the little boy is angry. Why? The storyline I derived comes from linking the painting of a ship on the wall and the toy ship the boy is playing with. Perhaps the father is lost at sea or has died?
I absolutely love the feeling this piece evokes. But though it feels so sad, that sadness is mixed with warmth from the fire. I also like that I can hear the quiet of the night and the popping of the fire. And I can feel the sorrow and the warmth of the fire.
What I noticed or learned from Bannister’s techniques:
I appreciate Bannister’s use of texture and value to create so much feeling. His loose scribbles imply form beautifully, and he says only as much as he needs to then stops knowing he’s achieved that.
My Changes:
I took a less impressionist approach. I also substituted a boy for one of the grownups (Chase’s wife) since most of my latest MousterWorks are filled with girls . . . You may also notice a few other differences if you examine the characters up close.
Things I thought/Questions I asked:
What a wonderful place to enjoy an afternoon! Just looking at the original makes me take a deep breath. I can hear the waves licking the shoreline, the breeze rustling the grasses, and the seagulls speaking in the distance. I can feel that wonderful sun on my face . . . and the scratchy grass. How can you sit comfortably if the grass makes you itch? Which makes me wonder when people started bringing blankets outside to sit on?
This painting really challenged me. I can spend forever on anatomy and expression and barely notice the time, but I find landscapes so tedious (as may be evidenced here). I think what makes them hard is that I don’t know when to stop or continue with detail. There’s always another twig, another leaf, another pebble . . . It’s especially difficult to turn an impressionistic painting into something with detail and I’m scratching my head to guess what each plant is. Some artists do landscapes so well, but this painting definitely points out room for improvement!
What I noticed or learned from Chase’s techniques:
My favorite aspect of Idle Hours is how Chase captures the relaxed mood of a friendly group on a beautiful afternoon. He painted this at a time when he did a lot of plein air painting, and on this afternoon he brought his family along. Even though he doesn’t emphasize details like eyes or fingers, there is still quite a lot of detail in places that might escape your notice—the reds and yellows in the grasses, greens in the water, and in his brush strokes he used to create texture—the waves, the various grass textures, etc. Because of this, I think for my rendition to feel finished with enough of that detail I think I’d need another day or two.
My Changes:
Amped up the color, added in a storyline, changed the girl’s race, and played around with the textures.
Things I thought/Questions I asked:
This painting poses lots of questions for me. Who is this little girl? Is she getting ready for bed? a party? the morning? If I’d have to guess, I’d say it was a party, though I’ve opted to portray her getting ready for bed. Who is her nurse? How long has the nurse attended to her? They obviously have a good relationship since the girl is holding her hand so trustfully. I like that we can’t see the nurse’s face; it lets me imagine who she is. Judging by the age of her hand, I’d guess she’s probably in her late 40s or 50s. Who are the parents? Are they much involved in their daughter’s life or do they mostly leave it to the nurse? They are obviously a family of wealth to afford a nurse and such a beautiful dress.
What I noticed or learned from Beaux’s techniques:
Between this MousterWork and the last, I’ve especially enjoyed Beaux’s backgrounds. Though sparce, her grungy application of paint creates movement and energy that points us right where she wants us to look. I also appreciate being able to clearly see the little girl’s face and anatomy.
When I was little, Mom and I often looked through a beautiful book of Masterpieces. I asked lots of questions about these people painted in time: How were we the same? How were we different? If you are also a fan of masterpieces, children’s book art, and searching for mice, I invite you to follow along!
All original images © Angela C. Hawkins
Love a MousterWork print? They will be available in my Etsy shop. Don’t see the one you want? Email me and I’ll add it in.
