Dancers (after Renoir and Miro)
Pairing:
Dance at Bougival by Pierre-Auguste Renoir
The Beautiful Bird Revealing the Unknown to a Pair of Lovers by Juan Miro
Acrylic on canvas
Dimensions: 48" x 30"
Artist's Insights:
Q. This is another case of two works of art joined together, but here the two are superimposed. Is this something new for you?
B. Before I answer that, I want to say that I remember walking by Renoir's "Dance at Bougival" every day while I took classes at the Boston Museum. It's a large painting, at least 6 feet tall and was placed on an impressive easel located on the way to the area where the art classes were held.
Before I started combining images on the computer, I had to complete one element and then project the second over it. I could then see them superimposed. Usually, I drew whatever appeared beyond the the outer limits of the first image. In this case, with the Miro painting, the shapes could be seen through the dancers' clothing. I thought this transparency, or seeing one painting through-the-other, could be very interesting. It was a challenge to mix the colors so that the transparency was effective and to omit areas where it would not be such as with the hats and the flesh tones. It was an experiment that worked, I'm happy to say.
Dance at Bougival by Pierre-Auguste Renoir
The Beautiful Bird Revealing the Unknown to a Pair of Lovers by Juan Miro
Acrylic on canvas
Dimensions: 48" x 30"
Artist's Insights:
Q. This is another case of two works of art joined together, but here the two are superimposed. Is this something new for you?
B. Before I answer that, I want to say that I remember walking by Renoir's "Dance at Bougival" every day while I took classes at the Boston Museum. It's a large painting, at least 6 feet tall and was placed on an impressive easel located on the way to the area where the art classes were held.
Before I started combining images on the computer, I had to complete one element and then project the second over it. I could then see them superimposed. Usually, I drew whatever appeared beyond the the outer limits of the first image. In this case, with the Miro painting, the shapes could be seen through the dancers' clothing. I thought this transparency, or seeing one painting through-the-other, could be very interesting. It was a challenge to mix the colors so that the transparency was effective and to omit areas where it would not be such as with the hats and the flesh tones. It was an experiment that worked, I'm happy to say.