What Did Stanley Cosgrove Learn from Orozco - Research Paper Example

What did Stanley Cosgrove learn from Orozco? . Stanley Morel Cosgrove a native of Quebec studied art at Ecole des Beaux –arts de Montreal in the 19th century. He majored in figure painting under the guidance of Edwin Holgate. Most of his summers Cosgrove spent painting in Charlevoix, Quebec it was in 1939 that he got a scholarship to further his studies that he chose to do this in Mexico. Cosgrove developed an interest in Fresco painting and approached Jose clement Orozco through his teachers’ friends. In the process of learning, he worked in developing the fresco paint for hospital Jesus de Nazero in Mexico City. Working with Orozco gave a new direction to Cosgrove’s work of painting (galariemitchelbigue.com 1). Fresco painting need wet plaster in order to produce a masterpiece work of art. The pigments soak in water so that the plaster absorbs the colour. The panting then becomes a part of the wall when it dries up. Cosgrove knowledge of the art of fresco technique later paid off in his work of art. The technique added feeling of immediacy to his landscapes. Still and figure painting. In his work, the texture of his paintings, the purity of colour and the transparent nature of his work took its origin from the fresco technique. On his return to Canada, Cosgrove flourished in his career getting commission from churches, public buildings, and a teaching position at Ecole des Beaux Arts. The 8 month he spent with Orozco was worth if for he acquired a lot of skills used in fresco painting such as application of thin layers, dry layers of paint, the attention to form and composition and utilisation of subtle colours (National gallery of Canada 1). In order to shed light to the whole idea, let us look at what fresco painting entails. This will allow us to have an idea of what Cosgrove learnt from Orozco. The fresco technique of painting is a painting technique of the renaissance; it traces back to the renaissance period. It is a technique of renaissance since it became popular during the medieval and renaissance periods. In this period, this form of painting made the standard method of decoration. In this technique, we have different forms. The true fresco involves painting on a wet lime plaster; water forms the medium of the paint. The other form of fresco is the secco fresco, which is done on dry plaster. Pigment is applied using egg as the medium and a binder for the paint. In his technique, the paint does not absorb into the structure of the plaster, but it forms a surface layer. Secco allows for correction of mistakes. The last type is mezzo fresco usually performed on an almost dry surface. The pigment slightly penetrates the surface of the plaster retaining much of the colour. The artist of the medieval era had different ways of working in fresco. Most artists worked from the top corner applying the paint from top to bottom. The work involves working in stages. Each day marking a stage until the work is done, caution is observed so as not to damage the finished sections of the painting. Preparatory drawings on paper are to mark the outline of the desired work. Then placed against the wall and main lines marked, a bag of soot was used to bang along the holes. This produced dots giving the outline of the work. Let us now consider the work of Orozco, the fresco for hospital Jesus de Nazero in Mexico city is a true fresco, very permanent. From this work Cosgrove learnt how to fix an under a layer of plaster, this layer is where the artist sketches their composition. On the under layer exists a red pigment the sinopia once an artist sketches their composition no changes could be made, then the plaster is left to dry up in order for the artist to complete the painting. Mistakes made meant removing the whole plaster, an artist learnt to be accurate in his work. In fresco paintings, the dividing lines between different days work is often noticeable. These layers were hidden on application of secco paint (Italian renaissance art 10). In Orozcos’ work, one appreciates the reality in what can only be imagined in the academic work this skill was passed to Cosgrove. In schmeckeibers’ point of view, Orozcos’ work could demonstrate strong emotional play on common human feelings: pain misery sympathy, sarcasms, humour and religious superstitions (52). All this could be felt by studying his work of art. Cosgrove as his student learnt this skill from Orozco. Many Orozco’s murals are masterpieces of the 20th century. These works of art demonstrate immense skill and sympathy. The same skill is shown in the works of Cosgove. The use of art in preserving historical happenings is one technique that makes us appreciate art more by observing the works of this artist, and having a feel of emotion in their work of art make the work of art admirable. Orozcos work also reveals a keen insight on the laws of anatomical structure and visual appearance. Cosgrove utilised the skills acquire from his tutor and made lots of paintings that he exhibited, among his works are the simplified forms and multiple perspectives’ of still life’s the liveliness of this piece of work is a memorable one. Other works include the blue dress a Cosgorive portrait, a placid Madonna like figure outlined in black. Finally, we have the landscape that presents a sense of peace and calm. In his landscape paintings, the absence of humans depicts the forest sceneries. Cosgoves’ work is characterised by a sureness of lines mainly in the figure work. The landscape creates fascination and surprise they are representing immense sense of meditation that is noted by an inner stillness and quiet. The landscapes are painted in soft pastel colours that reflect on Cosgroves’ interest in frescos technique. Cosgrove lived his life as a painter, draughtsman, printmaker, muralist and an educator. Works Cited Galariemichelbigue.com. Canadian Masters: Stanley Cosgrove. 2000. 22 November 2011 . Cybermuse.gallery.ca. Canadian National Gallery: Stanley Cosgrove. 22 November 2011 . ICOMOS. World Heritage List. Mexico, 1997. Italian Renaissance art.com. Painting Technique of the Renaissance: the Fresco Painting Technique. 22 November 2011 . Schmeckebier, Laurence E. Mordern Mexican Art. Minneapolis: University of Minnesota, 1939. Read More