This piece is the result of putting together old and modern masters. I have been studying both, and they have more similarities than differences in the construction of the works, as R. H. Wilenski wrote in “The Modern Movement in Art.” Here I bring together Titian and Lygia Clark, with a dash of Francis Bacon and Matisse, as usual. The figure is modeled after Christ in Titian's Averoldi Polyptych, and the background after Lygia Clark's Study for Planes in modulated surface. It was very difficult to transform Titian's Christ in a matisse-esque figure, as the original figure is very dramatic, predicting the use of foreshortening in the Baroque. His arms and legs seems to be in an undefined place in space, almost unnatural, making it very difficult to create a flat figure off of it that would still look pleasing to the eye. I believe have come close to it. As for the use of Lygia's work for the background, it resembles the panels of the polyptych, holding the figure in place, with its diagonals directing the eye to the figure. So, what I have hoped to achieve is to understand and show how old and modern masters use the architectural principles in creating great works, despite of centuries between them. There's plenty more to study, research and paint, so I better get to it...
Oil on Canvas