Over the past decade, drawing has taken a prominent place in the ever-growing number of international and biennial exhibits. Particularly among the younger generation of artists, drawing is a primary medium. While old master drawings have traditionally been cherished for directly conveying the artist’s hand-unlike painting, which was often executed by studio assistants, there have been historical and dramatic vacillations in the values assigned to various types of drawings. Oscar Fehere was a painter of figure subject, portraits, and landscapes. An exceptional architect who honed the skills he had in the art academics of New York, Paris, and Munich, and was additionally known for his exquisite renderings of the human form. The lines of charcoal on paper and the way the paintings flow are for creating the most intricate features that indicate the ability and expertise of art.
Head of a Woman Charcoal on paper
Drawn between 1872-1958 Head of a woman shows an exquisite charcoal drawing of a woman who blankly gazes in an opposite direction. The picture is a simple illustration of lower and upper parts of an independently made drawing. The image is a portrait view of charcoal on paper drawing. Head of a woman is executed on a sheet of rag paper, indicating the image of a female creature with bright color. Her wide staring eyes and mouth are comically gazing blankly into space. Next to her are a shade of charcoal, the drawing is painted on artist-primed linen. Oscar Fehere’s work of painting shows a full-length figure of picture space with a posterior pose, showing a half-length figure simultaneously descriptive and abstract.
Head of a Woman belongs to a group of four studies of inclined heads related to the masklike faces of three women and more directly to a single figure in the Dryad (Hill 210). Each depicts a longer, overall face with light for eyes and along, wedge-like nose with a broad lower rim. There is no question of the authenticity or singularity of Oscar Fehere’s drawing and his vision. To those qualities in the drawing in charcoal, there is an addition to the paintings of the sixties a privilege that results from the complete mastery of the ideas maintain. This is as a result of the complete mastery of his idiom, and the extension of the expressive range portrayed in Head of a Woman Charcoal on paper with its measurement 15 x 12.
Cupcake Angel, 2016
Audrey Flack is an American artist who in the photorealistic painting has been a pioneer for some time. The works of her drawing have been bought by various museums such as the Allen Memorial Art Museum (Brigham & Flack, 21). Marveling the realism of Flack’s painting is where she begins. The tart of strawberry on a cupcake in the center of the cupcake shows that shows a delicious view. However, let us get back to the Woman on the photo herself. Flack drew groups of pastel portraits and charcoal in the year 2011 that gave her the ability to combine her drawing in style of an Old Mistress yet referring to modern culture. Her works feature women from history and fabulous images that have been shaped from into the modern figure
The image is of a woman with curled hair in a portrait figure. She is staring blankly in the opposite direction and leans her head towards the left shoulder of her harm on the left side as though satisfied with what she sees. However, the leaning neck seems to be having something on the shoulder that can be considered a cloth; part of what makes her not naked. On her head are glittering star ratings arranged in a careful manner. The picture is indeed a perfect drawing of Flack’s painting. There is, however, a “cupcake” in front of the painting drawn independently and standing on its own. The Prisma-color on Cupcake Angel makes it look like pastel. Flack’s painting, on the whole, involves a perfect craftsmanship and concentration on thorough conceptuality of rich and visualized experience. The strength lies in her ability to transform her audiences into understanding the importance of what is commonly overlooked is. She proceeds further into the world of various thematic presentations. The arts have the potential of assisting anybody to feel at home in the constantly changing world.
Comparison
A comparison of the two drawings can be drawn from the similarity and difference of the facts that are visually displayed. Oscar Fehere in Head of a Woman presents a woman blankly gazing in an opposite direction, even though her eyes seem to be looking for something unknown to the observer. The perfect drawing is a portrait profile, in the form of a woman creature drawn with charcoal on paper. In size, the image is 15 x 12 of measurement presented on an on a dusty paper probably due to the ‘charcoal on paper’ drawing.
This drawing is a perfect presentation of one of Fehere’s drawing presented with profound meaning. Audrey Flack, on the other hand, presents a portrait drawing with few similarities to Fehere’s. The Cupcake Angel, unlike ‘Head of a Woman’, is drawing with measurements of 44 x 34 inches and is of a younger woman compared to the Fehere’s. The art presented by Flack, in this case, attempts to demonstrate the current artistic work added to the cupcake in front of it has meanings only quite clear to the viewer.
Works Cited
Hill, E. (1966). The language of drawing. Prentice-Hall.
Brigham, D. R., & Flack, A. (1994). The new civic art: An interview with Audrey Flack. American Art, 8(1), 2-21.
