Madonna with Child; A Contemporary View of its Renaissance Form.

*to be titled at a later date*  C.T. Rasmuss, Marker layout for Lucid Mosaic (Dec. 2014).

Lately I've been studying the Renaissance, the most I have since my courses in art school; this is all due to coming across and watching: 'A History of European Art', lecture on DVD(The Great Courses) by Professor William Kloss.  

link to site for lecture on DVD by Prof. William Kloss 

I've provided you with a link to it, as a resource which I keep renewing mine at the local library, from this course midway through the 48(30 min.) lectures, I've been inspired to finally attempt my rendition of Georges Rouault's, Madonna with Child(painted in 1920,but of a of a different name), which I saw and sketched quickly at the Dayton Art Institute, shown below:

Sketch of Rouault's Our Lady of the Fields C.T. Rasmuss

Even before visiting "The Dayton" my 1st time, I'd already been influenced and mesmerized by Rouault's stained glass quality to his oil work(as he served as a stained glass apprentice in his youth), I'd also become to admire his authentic texture, and especially his subject matter(uncharacteristic of his Modernist peers art work, for the most part) along with his extreme empathy for these subjects, almost to realized ecstasy.

Notre Dame des Champs NO. 4  Georges Rouault, oil (1920).

As you can see, I got the gist of Rouault's "Masterpiece", and last week when the spark hit me, I got the urge and grabbed the pre-fabricated canvas, and started drawing; from the very day I first saw, realized and sketched Rouault's "Madonna", I knew it was going to be one of my Lucid Mosaics, but I just didn't know when.  To be even more specific, it was going to and still is going to be my first Lucid Mosaic involving a composition, that deals with a portrait setting:

*to be titled at a later date*  C.T. Rasmuss, drawing (Dec. 2014).

I'm not sure if this was on purpose or not, as it can take a lifetime to understand the lifetime of the great masters, so I wouldn't put it past Rouault, as it was obvious through his unique Renaissance subjects, that he must not have only studied the great painters of the period, but also their inventions and hidden ideas that they introduced and perfected.  What I'm saying here is: in coming up with my own composition based from Rouault's, nearly 100 years earlier; I've noticed and capitalized upon an important central idea, found throughout much of Renaissance art, and that is the Trinity.

Trinity diagram   C.T. Rasmuss, ink.

In comparing my painting/drawing to the Rouault's original, the above Trinity triangle that I drew, overlaps our two paintings together by its central figures: Madonna and Christ child; with the top point rotating clockwise: 1. Mary's head, 2. Christ Child's head, and 3. is where they connect(Mary and Child).  

All in all, it was an innate need for me(capturing the essence of bond between these two figures above all other aspects), I feel lucky that I was able to carry this most important aspect(representation of the Trinity composition wise) over into my own interpretation of an artist's great & successful rendering of this heavily sought narrative; also with a similar need to communicate this age old subject, I feel blessed to have the faith in being able to just go for it.  Thereby receiving the reward of understanding, to which only this event could have given me!

To be continued..

Rockwell Kent's Adirondack Landscape 1940; Under The Giving Sun in 2013.

Under The Giving Sun  C.t.Rasmuss, lucid mosaic (2013).

Rockwell Kent's: 'Adirondack Landscape from 1940; I first came across this painting last year at The Dayton Art Institute(and a few weeks ago I was able to re-visit and take the photo this time); I'd heard of Rockwell Kent before, but just his name, not much more than that, but when I came upon this painting, instantly I had to draw it! As I quickly sketched it, as usual, with any other work of art, I started to learn more about it's composition, simple as it may have seemed; as it was just a landscape with trees, a sky, and clouds. Even so, I became more and more interested in the unique styling of these common, compositional elements; which later without foresight, became the focus of a 200-150 hour labor intensive lucid mosaic.

Adirondack Landscape  Rockwell Kent, oil (1940).

 These compositional elements which I'm referring to the: trees, shrubs and clouds(which I did not end up including in the final artwork) caught my eye and gave me the idea to turn this composition into my next lucid mosaic. The trees, which were my favorite part overall, are how they seem realistic, but have exaggerated openings allowing the landscape to pierce through; this shape-like characteristic allows for unique and organic objects possible, to be included in one of my mosaics; this goes for the shrubs as well(and clouds if I'd included them).

Three Hills  C.t.Rasmuss, lucid mosaic (2012).

 When it came to the clouds, I had changed my mind near the end, they just didn't seem to be enough anymore, so I replaced them with a “majestic” sunrise & sun-rays, for an “East meets West” touch. I believe the need for this change was caused from the extra row of trees/shrubs I place on the secondary wave of landscape; I did this to create and existential component, as I believe Kent's original had a touch of it, and as an artist in the 21^st century it's my duty to try and improve on any work, or movement by the master's.

Click here to learn more on artist: Rockwell Kent

Original sketch at Dayton Art Institute by C.T.Rasmuss, ink (2013).