A DIALOGUE BETWEEN LINES AND FLORAL MOTIFS IN PAINTING
A DIALOGUE BETWEEN LINES AND FLORAL MOTIFS IN PAINTING
No Thumbnail Available
Date
2014-08
Authors
GARBA, NADAMA MUSTAPHA
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
A Dialogue between Lines and Floral Motifs in Painting
This research was focussed on creating a dialogue between lines and the floral in
painting. Many painters have worked on floral paintings looking at the flower
exclusively. There were also research works done on the floral form but, non to the
knowledge of the researcher were in relation to lines as centre of interest. The study
aimed at exploring the interactive role of lines as they affected the forms and shapes of
the flower. While the objectives were firstly to illustrate harmonious coexistence of line
on the shape and form of flower, secondly to create compositions in which the floral form
is fully fused with lines, finally to explore the possibilities of reducing these fused forms
into simple lines and geometric forms. The methodology for this research was practice
based, and data for the study was gathered through the processes of observation,
photographs and sketches. Instruments employed for data collection were camera, scanner
and the computer. Manipulation of data in the studio led to works being categorized into
two main headings, Exploratory and Developmental categories. The Exploratory category
was further sub divided into two stages, namely Representational and Experimental
stages. The Representational stage, focussed on realistic rendition of the floral forms with
subdued lines. While the Experimental stage was directed towards producing works in
which lines became dominant while the flowers were transformed into abstract forms,
diverse types of media were explored. The Development category was also divided into
three stages namely; “Geometric and Organic lines Infusion”, “Organic lines Infusion”
and “Geometric lines Infusion”. Geometric and Organic lines Infusion, saw a mixture of
mechanical and curvy lines used in making Plate XIV, which was simplified to produce
three more works in stages. Organic lines Infusion saw only irregular wavy lines used in
creating Plate XVIII, which was progressively simplified into producing other paintings.
Geometric lines infusion, an abstract floral fashioned using horizontal, vertical and
diagonal lines was created, which was also simplified to produce three more paintings.
The following findings were discovered; that the use of lines fall into two major
categories, line can be used as a means to an end; this is when line is used in its traditional
role of bordering objects or as mere brush strokes. Line can also be used as an end in
itself; this is when line is used for its expressive qualities as seen in Mondrian’s and
Kandinsky’s works. Organic lines are more harmonious with the floral forms in realistic
rendition compared to Geometric lines. It was also observed that lines were more
expressively used in abstract rendition in comparison to realistic rendition. The researcher
recommends that further studies should be carried out to establish if floral can be made to
interact further with lines, space and texture.
Description
A Thesis submitted to the School of Post Graduate Studies,
Ahmadu Bello University, Zaria, in Partial Fulfillment of
the Requirements for the Award of Master’s Degree in Fine
Arts (Painting)
Department of Fine Arts
Faculty of Environmental Design
Ahmadu Bello University, Zaria, Nigeria
AUGUST 2014
Keywords
DIALOGUE,, BETWEEN,, LINES,, FLORAL,, MOTIFS,, PAINTING.