How to Paint Like Picasso | Tate

Summary

In this video, the artist demonstrates how to paint in the style of Picasso, using his 'Bust of a Woman' as inspiration. The focus is on exploring form and structure, breaking the figure into geometric shapes and using a limited color palette. The artist emphasizes the fluidity of oil painting, where mistakes can be reworked. By shifting perspectives and fragmenting the figure, they aim to move away from realism, much like Picasso did. The video highlights the importance of imagination in the creative process, encouraging viewers to experiment and let their paintings evolve.

Takeaways

• 🎨 The video explores how to paint in the style of Picasso, using his painting 'Bust of a Woman' as inspiration.
• 🖌️ Picasso was moving away from realism, focusing on form and structure by breaking figures into geometric shapes.
• 🎨 The video emphasizes Picasso's use of a limited color palette and chiseled brushstrokes to highlight form.
• 🖼️ The artist in the video uses a live model, Sam, while referring to Picasso’s painting on an iPad for guidance.
• 🖌️ The initial stages of the painting focus on blocking in shapes and simplifying the head and body into basic forms.
• 🎨 The artist uses burnt sienna for the background, mimicking Picasso’s technique of toning down the canvas early.
• 🖌️ The goal is to move away from realism and focus on the structure and form by fragmenting the figure.
• 🎨 Picasso treated clothing and the figure similarly, drawing attention to the painting's surface rather than realism.
• 🖼️ As the painting progresses, the artist thickens the paint and creates layers to bring out shapes and forms.
• 🖌️ Picasso’s approach encourages painting from the imagination, allowing the artwork to evolve and take on its own life.

Q & A

What is the primary inspiration for the artist in the video?

The artist is using Picasso's 'Bust of a Woman' as inspiration, particularly focusing on Picasso's move away from realism towards form and structure.

Why does the artist choose 'Bust of a Woman' for inspiration?

The artist finds it fascinating how Picasso uses a limited color palette, geometric shapes, and chiseled brushstrokes to emphasize form and structure in 'Bust of a Woman,' despite it not being one of Picasso's best-known works.

What technique does the artist use to start the painting?

The artist begins by blocking in the composition, using black and French ultramarine, thinned with turpentine to make the paint dry faster and apply smoothly.

Why is it important for the artist to 'get rid of the white canvas' early on?

Removing the white canvas helps the artist focus on tone and structure, allowing them to build the painting more effectively without distraction.

What color does the artist use for the background and why?

The artist uses burnt sienna for the background because Picasso often used it in his backgrounds, and it simplifies the tonal structure early in the painting process.

How does the artist approach the figure and clothing in the painting?

The artist treats the figure and clothing similarly, drawing the viewer's attention to the surface of the painting rather than distinguishing between the two.

What role does movement play in the artist's process?

The artist moves around the model and has the model shift positions, allowing different angles to fragment the figure further and create a more dynamic composition.

What complementary colors are used in the painting, and what effect do they have?

The artist uses a dark blue-green against a reddish-brown, which serves to push the face and figure forward in the composition, creating a strong contrast.

How does the artist view Picasso's brushstrokes in the painting?

The artist sees Picasso's brushstrokes as sculptural, almost like chiseling, as each stroke helps to define the direction and dimensionality of the figure's shapes.

What final advice does the artist give about Picasso's approach to painting?

The artist suggests that Picasso's method involves painting both from imagination and observation, encouraging artists to let their paintings evolve and take on a life of their own.