Thesis Abstract

<p> A Dialogue between Lines and Floral Motifs in Painting<br>This research was focussed on creating a dialogue between lines and the floral in<br>painting. Many painters have worked on floral paintings looking at the flower<br>exclusively. There were also research works done on the floral form but, non to the<br>knowledge of the researcher were in relation to lines as centre of interest. The study<br>aimed at exploring the interactive role of lines as they affected the forms and shapes of<br>the flower. While the objectives were firstly to illustrate harmonious coexistence of line<br>on the shape and form of flower, secondly to create compositions in which the floral form<br>is fully fused with lines, finally to explore the possibilities of reducing these fused forms<br>into simple lines and geometric forms. The methodology for this research was practice<br>based, and data for the study was gathered through the processes of observation,<br>photographs and sketches. Instruments employed for data collection were camera, scanner<br>and the computer. Manipulation of data in the studio led to works being categorized into<br>two main headings, Exploratory and Developmental categories. The Exploratory category<br>was further sub divided into two stages, namely Representational and Experimental<br>stages. The Representational stage, focussed on realistic rendition of the floral forms with<br>subdued lines. While the Experimental stage was directed towards producing works in<br>which lines became dominant while the flowers were transformed into abstract forms,<br>diverse types of media were explored. The Development category was also divided into<br>three stages namely; “Geometric and Organic lines Infusion”, “Organic lines Infusion”<br>and “Geometric lines Infusion”. Geometric and Organic lines Infusion, saw a mixture of<br>mechanical and curvy lines used in making Plate XIV, which was simplified to produce<br>three more works in stages. Organic lines Infusion saw only irregular wavy lines used in<br>creating Plate XVIII, which was progressively simplified into producing other paintings.<br>Geometric lines infusion, an abstract floral fashioned using horizontal, vertical and<br>diagonal lines was created, which was also simplified to produce three more paintings.<br>The following findings were discovered; that the use of lines fall into two major<br>categories, line can be used as a means to an end; this is when line is used in its traditional<br>role of bordering objects or as mere brush strokes. Line can also be used as an end in<br>itself; this is when line is used for its expressive qualities as seen in Mondrian’s and<br>Kandinsky’s works. Organic lines are more harmonious with the floral forms in realistic<br>rendition compared to Geometric lines. It was also observed that lines were more<br>expressively used in abstract rendition in comparison to realistic rendition. The researcher<br>recommends that further studies should be carried out to establish if floral can be made to<br>interact further with lines, space and texture. <br></p>

Thesis Overview

<p> INTRODUCTION<br>1.1 Introduction<br>The term dialogue has been metaphorically employed by painters to explore subjects.<br>An example is Gani Odutokun’s “Dialogue with Mona Lisa” Fig.19 the painting<br>represents an African Sculpture and Mona Lisa in a creative exercise. Dialogue itself is a<br>form of conversation between two or more people as the Merriam-Webster’s Dictionary<br>and thesaurus states. Lines on the other hand are tools or elements with which the artist<br>employs to realise his form. There are different types and sizes of lines, which creates the<br>possibility of realising any art form. The dialogue between lines and floral, is a painterly<br>exploration that will expose the possibility of an interaction of the two elements lines and<br>floral, in which both elements have a certain share of prominence as they affect each<br>other.<br>The flower is the reproductive portion of any plant in botanical term, and the word<br>“flower” especially applies when part or all of the reproductive structure is distinctive in<br>colour and form according to Encyclopaedia Britannica. There are about 230,000 to<br>270,000 species of flowering plant according to David (2012), presented in different<br>colours, shapes and sizes. The dialogue will expose to the viewer the many aspects of<br>lines using the flower as a medium.<br>1.2 Background of the Study<br>Flowers have served as a source of interest and inspiration for many artists over<br>generations, this fascination has rendered them as subjects for detailed studies. Gardens<br>are known to be places of recluse and serenity, offering an ideal environment for<br>2<br>creativity to flourish, as seen in botanical illustration by Redoute (1756) called “les<br>Rose”, who was known for his watercolours of roses, lilies and other flowers according to<br>Robert (2012). Monet (1840-1926) made comprehensive studies of the flower, as he<br>would paint the same subject at different times of the day capturing the effects of light on<br>it, examples of such works are the Fig.12“Water lilies evening effect” and “ Water lilies<br>13”. Van Gogh (1853-1890) also captured the floral form in many of his works with<br>emphasis on the “Sunflower” Fig. 20 and “Vase with Fifteen Sunflower”. Federico (2001)<br>noted that “Odilon Redon (1840- 1916) explores more into symbolism and spirituality as<br>he derives inspiration from the floral forms which are visible in his works, often mixing<br>them with human forms in some compositions”, an example of such works is “Ophelia”.<br>Fred (2011) states that “O’Keeffe captured the growing plant’s slow, controlled motion<br>while converting the plant into a powerful abstract composition of lines, forms, and<br>colours”, an example of such work is “Jack in the Pulpit No.4”.<br>Locally, Buhari’s (1989) “floral notes” exhibition puts forward some paintings with<br>visible floral forms as seen in Fig. 24 “Spirit of Van Gogh”, while in other works like<br>“Nostalgic landscape” and “Through the wilderness of men” shared similarities to works<br>of Redon (1840- 1916), in having human and floral forms visible. While “A garden at<br>dawn” and “Dialogue between Heaven and Earth” both have abstract floral forms that<br>could be perceived with fluid rendering of the colours. Garba’s (2011) “Adaptation of the<br>floral Motifs for Abstract Painting” produced works in progression that transformed the<br>floral forms to abstract as seen Fig. 25 “the Search” and “Harmony”. So far these artists<br>have all used lines in their traditional role bordering forms or preparatory stages of<br>painting as sketches and drawings, on some occasions they exist as mere brush marks,<br>intensifying contrast or creating movement. Flowers however have colours and vibrancy<br>which draws the creative mind in adoration of their beauty, the different array of flowers<br>3<br>in different forms, shapes, textures, sizes and presentation, tempts the artist into<br>reproducing or drawing inspiration from them.<br>1.3 Statement of the problem<br>The flower has provided a comfortable platform for artistic expressions for many<br>artists and researchers in painting. Many painters have worked on floral paintings looking<br>at the flower exclusively. Even in situations where bold and solid strokes were employed,<br>it was perhaps to create movement and intensify contrast in the pictorial planes. There<br>were also research works done on the floral form but non to the knowledge of the<br>researcher, were in relation to lines as centre of interest. This gap presents a research<br>problem for study.<br>1.4 Aim and Objectives of the Study<br>The aim of this study is to explore the interactive role of lines as they affect the form<br>and shape of flowers, while the specific objectives are;<br>1. To illustrate harmonious coexistence of line on the shapes and form of flowers,<br>2. to create compositions in which the floral form is fully fused with lines<br>3. to explore the possibilities of reducing these fully fused forms into simple lines and<br>geometric forms.<br>1.5 Significance of the Study<br>The research will expose to the viewer the many aspects of lines using the flower as a<br>medium. It will also highlight that lines can render further meaning to the things we see<br>and when completed, the research will hopefully usher a new direction and understanding<br>in the dynamics of lines in painting.<br>4<br>1.6 Justification of the study<br>This research will expose the possibilities of an interaction of two elements, that is<br>lines and floral, in which both elements have a certain share of prominence thereby<br>creating a communication as they affect each other. In doing this, the obvious gap<br>identified in the previous attempts at exploring the flower through painting will have been<br>filled hence the justification of the study.<br>1.7 Scope of the study<br>This study focuses on Roses, Sunflower, Lilies and Tulip flowers found in the<br>commercial gardens along Isa Kaita road Kaduna, Kaduna State Nigeria.<br>1.8 Conceptual Frame Work<br>Flowers have always been admired by man. This adoration led to their depiction early<br>back to the mural paintings of the 18th Dynasty. The tomb of Nebamun at Thebes in<br>Egypt called “Fowling Scene” shows that the lotus flower was well represented. Since<br>then, many artists have painted flowers for many intentions. According to Amelia (2010)<br>floral paintings were seen firstly, as early religious symbols in the 13th century AD,<br>secondly as reportage art in the 16th century AD due to exploration of the new world,<br>which brought about unknown species of flower to be documented and thirdly as emotive<br>symbols.<br>Detailed paintings of flowers had been made by painters such as Monet’s (1840-1926)<br>“Water lilies evening effect” as seen in Fig. 21, who’s interest is anchored to the effects<br>of light on his subjects with lines as mere brush stroke. Van Gogh’s (1853-1890)<br>“Sunflower” Fig. 20 which is characterised by timid lines which appear as patterns<br>created by the artist’s technique of paint application. Odilon Redon (1840-1916) delves<br>5<br>more into symbolism and spirituality according to Federico (2001) often mixing the floral<br>forms with human forms in compositions such as “Ophelia” and “Head with Flowers”,<br>with lines having only to play their traditional role. Fred (2011) notes that Georgia<br>O’Keefe’s (1887-1986) paintings feature close-up views of petals and leaves in which the<br>organic forms become powerful abstract compositions as seen in “Canna Red and<br>Yellow” Fig. 22. Jerry Buhari’s (1989) “floral Note” paintings were influenced by Odilon<br>Redon’s style, some of the works had abstracts of human forms such as “Travellers III”<br>and “Through the Wilderness of Men”, with lines serving simply as boarders and brush<br>strokes. Garba Benjamin’s (2011) works were more inclined to the transformation of<br>floral forms to abstract as seen in “The Search” Fig 25. In all the above mentioned works<br>the artists have used line in its traditional function in their works without giving it any<br>special attention. The approach of this study is to systematically introduce lines into floral<br>painting, by creating collaboration between the line and the floral form, where the line is<br>made to affect and transform the floral forms. The dialogue of the fused floral forms and<br>lines will then be simplified to simple lines and planes.<br>6 <br></p>