La tradition of costumes is universal et faszinierend.
Rooting in religious Prozessionen un élément essentiel is participating and observing. So I spent in 2012 mon 64e anniversaire at Lorient festival
interceltique watching half a day les
gens se préparent à partir for the procession (see the album festival
interceltique 2012 at flickr). Most appealing to me have been the youngsters
joining the traditional walk and dancing with their costumes. It is an eternal
topic joining a world with a particular outfit, avec des pièces d'enracinement dans les générations de l'histoire de la
famille.
Going beyond captured moments from haute résolution fotos into printing means a drastische Vereinfachung
of inividuality and expression. Such is extrêmement évidentein japanese
portraits, as a good example the hawaiin collection of James A. Michener of the
Edo beauties in ukyo-e Holzschnitten.
At the time mehrere
hundert Verleger, ebenso viele artistes, tausende Holzschneider und Drucker
fertigten in wenigen Jahrzehnten bis zum Ende der Edo-Zeit im Jahr 1868 millions
of prints. With the tradition of making
portrait prints of de personnalités célèbres in Edo were from the beginning kabuki actors
and high-ranking courtesans. The fine face contour lines („the commanded
clean pure line“) promote a loss of individuality. As Tadashi Kobayashi states
in his essay The golden age of Bijinga
from „the floating world“ : even though artists tended to use real people
as models…their actual features were definitely pas représentés de manière réaliste…the artists persisted …in the
use of stereotypical pictoral representations.
But next tot he face a rich variety of lines are permitted:
Such line protraits can be found e.g. in Mary Cassatt's (1844-1926) works,
like the 1891 Letter, linked to
Kitagawa Utamaro's (1753-1806) Porträt von Oiran Hanaoigi
Or with the addition of skin colour(s) to Emile Dezaunay (1854-1938), jeune file de Rosporden (around 1905-1910)
or Carl Moser (1873-1939) Bretonin mit Kind, a late color
woodcut from 1923
The tradition of drawing as a method to first transfer the
person’s coordinates to a 2D-field as portrait and maybe initial work for
painting I found perfectly performed by Hans Holbein le jeune, who age 38
became Hofmaler of Henry VIII in 1536. Beeindruckend das Abtasten der head-face
charactristics mit feinen pencillines.
Heinrich
– auf Brautschau – envoyé Holbein 1539 sur le continent, to paint Christina
von Dänemark und in Kleve die
beiden Töchter des Herzogs Johann III. L'image d'Anne de
Clèves
gefiel ihm sehr und il a décidé de se marier avec elle. Da ihm die reale Anna aber
weit weniger schön erschien als die gemalte, est tombé avec
lui en disgrâce.
Er blieb zwar Hofmaler, but was never allowed again to paint a Mitglied der königlichen family (german wiki).
Such very
clear line drawings going beyond Konturlinien have been used in both wood and
linocut for portraits, surtout
pour les enfants et les jeunes, comme des lignes supplémentaires lässt die Person altern. In all my attempts j'ai éliminé toutes les lignes dans les visage
after the first Probedruck.
The drawing
on the linoplate
Is cut mainly
with a 1 mm knife
A second
color plate for face and background is
used
The contour
plate is inked in black and brown
Eye and lip
colours are added
