play of light

Forms of Still Life by Jeannine Cook

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Inching my way back from the roles of hospital companion and guardian to my husband as he recovered from an emergency operation, I finally felt I could slip back into my artist world a little. It was a welcome move as there is nothing more debilitating, for patient and family, than sojourns in a hospital. My first treat to myself was to see a recently opened small exhibition at the Museu Fundacion Juan March in Palma de Mallorca. Entitled "Things: The Idea of Still life in Photography and Painting", it straddled 17th century Dutch still life paintings and late nineteenth-early twentieth century photographs.

It was a really interesting premise, examining the forms of still life and even the cultural differences in the use of the word, "still life". The German and English versions of the words echo the original Dutch/Flemish concept of examples of things that are faithfully recorded in a carefully organised composition. But the Spanish "naturaleza muerta" or 'bodegon" stray far from the original premise. Most of the work presented represented northern artists, thus closer to the true sense of still life.

The Dutch paintings were lovely small ones, where the artists had delighted in the play of light on a glass goblet or a small ceramic dish, spoon or the crisp glint of a peeled lemon.

Willem Heda, Still Life with a Roemer, Bread and a Lemon,  c. 1640-43. Colección particular
Willem Heda, Still Life with a Roemer, Bread and a Lemon, c. 1640-43. Colección particular

The leap to the early medium of photograph to record still life that, mostly, was pre-composed, was interesting. Sometimes, the photographs seemed airless, compared to the paintings, still a characteristic of many photographs today when compared to paintings. Yet there was an elegance and refinement in the photographs that were distinctive. As always, I seem to prefer the very simple compositions - such as one by Baron Adolphe de Meyer taken in 1908 of two hydrangea flowers in a glass of water, the reflections of the glass playing out on the wide expanse of the surface in the lower third of the photogravure.

Barón Adolphe de Meyer, Naturaleza muerta, 1908. Colección Dietmar Siegert
Barón Adolphe de Meyer, Naturaleza muerta, 1908. Colección Dietmar Siegert

The selection of photographic still life works was wide-ranging - from daguerreotypes to a coloured autochrome coloured back-lit plate of flowers by the Lumiere Brothers done in 1908, a circa 1895 trichromatic print of flowers (so much for all our modern "inventions" of technicolour) and then into the more modernist 1920-60 black and white work by Man Ray, Walker Evans, and many other European photographers.

Josef Sudek, From the series "The Window of my Studio", 1940-54, gelatin silver print, Dietmar Siegert Collection
Josef Sudek, From the series "The Window of my Studio", 1940-54, gelatin silver print, Dietmar Siegert Collection

Every interpretation of still life was there one could imagine - from carefully set up compositions, to views of life made still in abattoirs or after a volcanic eruption to Walker Evans spotting a natural still life scene on a back porch of a (sharecropper?) weather-beaten clapboard house.

Walker Evans, Washstand in the dog run of Floyd Burroughs's cadbin, Hale County, Alabama, Summer 1936, gelatin silver print, Dietmar Siegert Collection
Walker Evans, Washstand in the dog run of Floyd Burroughs's cadbin, Hale County, Alabama, Summer 1936, gelatin silver print, Dietmar Siegert Collection

As I looked at the different compositions and the elements that made up those compositions, mainly derived from nature, I could not help realising that most of my current artwork is, de facto, still life. I am using elements of nature in compositions that record stones, bark, flowers --stilled by being placed in a setting other than their original one. I have only strayed a little, like many other artists, from the path of still life "inventor" artists of the seventeenth century by cropping, zooming in on some elements and eliminating others, framing and thus altering the original concept and layout of the still life set up.

Cedar Swirls, silver-goldpoint on black ground, Jeannine Cook artist
Cedar Swirls, silver-goldpoint on black ground, Jeannine Cook artist

I love feeling this sense of kinship and heritage that comes when you look at artwork from previous times and understand how and why you do things the way you do, thanks to those earlier artists.

Shadows by Jeannine Cook

I have always loved the way shadows are the underlying abstraction in even the most realistic of paintings or drawings. Perhaps because I have spent so much time in countries where white walls are the most perfect surfaces for shadows, I frequently find them more interesting than their "source objects".

Leonardo daVinci once said, "Shadows have their boundaries at certain determinable points. He who is ignorant of those will produce work without relief; and the relief is the summit and the soul of painting." He was one of the pioneers of chiaroscuro, the play of light and dark that helps describe an object; before the Renaissance, artists did not depict objects or people using this system of darks and lights. Leonardo's study of hands and arms illustrates his study of the shadows that help define these arms and hands.

Study of Female Arms and Hands, Leonardo da Vinci (Image Courtesy of Royal Library, Windsor)

Study of Female Arms and Hands, Leonardo da Vinci (Image Courtesy of Royal Library, Windsor)

What is Leonardo's subtext is his message - look, look, look at what you are depicting. Study the way the light falls on the object. Examine the shadows, the way the shadow is darkest near the object and tapers out as it gets further from the object casting the shadow. Remember to look for the reflected light near the object that is bounced back into the shadow from any light-coloured object, like an egg.

The shadows define the curves and angles of every object, allowing us to understand their configurations - like a visual language whose vocabulary one needs to acquire and practice. As all the light outside comes from the sun, the shadows will move, change, evolve as the sun moves across the sky. Leonardo's Study for the Kneeling Leda, done with bold in hatching, shows what he was talking about in the use of shadows.

Study for a kneeling Leda, 1503-07Black chalk, pen and ink on paper, 126 x 109 cmMuseum Boijmans Van Beuningen, Rotterdam

Study for a kneeling Leda, 1503-07
Black chalk, pen and ink on paper, 126 x 109 cm
Museum Boijmans Van Beuningen, Rotterdam

Accurate observation of light, and thus shadows, will implicitly tell the viewer what times of day the artist was working, and even indicate at what latitude the painting was done if carefully examined. The constant change in light is one of the main challenges to plein air art. It is a non-stop gallop as one can never work fast enough, it seems, to catch up with the movement of light and shadows. That is where quick sketches indicating shadows and light angles can help greatly later on. The light situation is also one of the main reasons why artists resort to photographs as the shadows are suddenly frozen. Nonetheless, working solely from photos tends to produce airless art, even if it is easier and an artist can control the process a little better than just working plein air.

I am reminded that there is another dimension of this need to look at shadows to find the "relief" for a drawing - at the moment, I am in the middle of doing a silverpoint drawing of ginger lilies, those wonderful, fragrant white butterfly-like flowers. I picked the head with the buds half open. With the indoors warmth, the flowers are opening fast, changing all the time, and of course, the plays of lights and darks are constantly altering. Since silverpoint is slow, this is a constant juggling act to keep a coherent composition going, remain reasonably faithful to the flowers and yet use the light and shadows to tell about the graceful forms of these flowers. Using artificial light, even my faithful daylight-accurate Ott Lights, makes the shadows so harsh that it is not appealing, so I am working in daylight, with its own set of challenges.

Challenges, yes, but Leonardo was right – the play of light and shadow can be the summit and soul of a piece of art.