Look at interiors that have by painted by various artists from different periods…
This is both a fascinating and also fairly endless topic, so I’ve come up with what might seem a random selection of paintings and will present them chronologically with a few thoughts. The process of choosing and looking at these images has certainly helped to open up my mind to the ways in which interiors and the objects within them can be portrayed.
In this his most famous of his paintings (a portrait of the Infanta Margarita, daughter of Felipe IV 1605-1665, surrounded by her servants or “family” in a hall of Madrid’s Alcázar Palace) Velazquez uses perspective to create depth. The eye is drawn to the open door and the figure at the back and there are reflections in the mirror. The paintings themselves frame the scene and seem to dwarf the figures.
Here the Pre-raphaelite painter Holman Hunt has used the furnishings to frame the figures. The way objects are scattered suggests a spontaneous moment in time captured. The figures are reflected in the mirror behind which is creating depth by reflecting open doors to the outside world. The outside juxtaposed with an intensely intimate interior moment.
In this lovely watercolour Whistler draws attention to the figure by contrasting her against an ethereal table and backdrop. Light streams across the image. The artist hasn’t been afraid to let the space talk and has not filled the scene with detail. It’s not necessary.
It seems that the real focus of this painting is the figure sculpture to the left. The diagonally placed rug is leading my eye to it and then my eye travels around the other objects and the more I look the more I see, such as the white figure / statue to the right. I note how Matisse has left a part of the foreground empty. This has created depth.
A kind of visual passage way has been created by placing all the furniture elements to the sides so that the eye is drawn along a pathway to the figure in front of the window at the back of the room. The high ceiling seems to make the figure look small and frail.
This is all about the the lovely curvy shapes of the table and the chair… which complement each other so well. The scene through the window is pretty, as is the vase of the flowers but the furniture is the star of the show.
This is a very literal example of 1950s kitchen sink painting, a term applied to a group of British artists including Jack Smith who painted ordinary people in scenes of everyday life. It depicts stark unadorned reality in a harsh, linear way. It is as if the viewer is behind a counter or shelf of some sort with some distance between them and the scene.
Picasso’s studio in a villa at the foot of the Sainte Victoire mountain.The blank canvas is in contrast a very busy and decorative interior and I cannot figure out what else to say!
The bed fills the horizontal plane and it takes a moment to see the dog. Who’s bed is it the master’s or the dog’s? This stark, unadorned interior is typical of Wyeth’s work and has loads of atmosphere.
Lopez’s work, which also includes dirty, grimy interiors, fridges, washing machines and such like, is stark realism and altogether disconcerting with grubby traces of invisible inhabitants.
Here the items of furniture and other objects seem to act as props in a macabre play. Murder is about to be committed in this menacing painting. The pig is walking into the picture to join the fray. I can’t help but notice how often in interior paintings an area of clear space is used in the foreground to give depth and lead the eye to the action.
It’s past midnight and time to stop but this has been an absorbing and informative research project and well worth the time and effort.