Sketch Studies #3 - Step Detailing

Sketch Studies #2 - Pen + Ink

Reverse side of paper, showing seepage of ink.
'Mood' shown influences final Poche drawings.

Sketch Studies #1

Influences on the Project #2

Continuing with the monkish asceticism of the life of the scholar, I was reminded of the work of a minimalist architect whose work, which often reflects the ascetic, I admire; John Pawson. (http://www.johnpawson.com)

In particular, and with relation to this project, I was reminded of his design of a Cistercian Monastery at Novy Dvur in the Czech Republic, completed in 2004. It is based around an ordered lifestyle of asceticism, and follows an architectural ideal put forward by St. Bernard in the 12th century; an emphasis on the quality of light and proportion, and simple detailing and facades.

This particular project's approach to form, as well as John Pawson's personal approach to material, helped inform the project's resolution.

Influences on the Project #1

After consulation with my tutor on the narrative idea, I was advised to research into the depiction in art of St. Jerome, the scholar who translated the Vulgate. He is known somewhat as the 'patron' of theological learning and lived an ascetic life of scholarship. Often he is depicted at study in an area akin to a monk's cell, hunched over in an alcove or area of study separate from the architecture around him.
(Collection of depictions of St. Jerome)

Antonello da Messina's painting of 'St. Jerome in his Study' depicts him as seated upon a raised platform, contained within a larger architectural context. Approaching his place of study via steps, he is surrounded by his shelves of books and study materials.

Domenico Ghirlandaio's identically named painting also shows him studying in a contained area. Here he sits and studies in a curtained-off alcove.

Antonello da Messina
'St. Jerome in his Study'
c.1475
(Oil on lime, 45.7X36.2cm)

Domenico Ghirlandaio
'St. Jerome in his Study'
1480
(Fresco, 184X119cm)

Narrative Development

In my personal opinion and interpretation of the paintings, I sense a wistfulness to the 'scholar', the single figure created by the unification of both the 'astronomer' and 'geographer'. Held in the same place by his academic studies of charts and books, he faces out of the window to an exterior world of the practical application of his knowledge. However, he remains in his room to study and accumulate knowledge; cognisant of the world outside, but apart from it.

An approach of a 'scholar separated from the world and devoted to his studies' led to ideas of such imprisoned scholars as Galileo and, through the religious connections in that scholar's life, to ideas of the ascetic life of study as practiced by certain brotherhoods of monks. Ultimately, the following narrative was settled upon as the basis of the project;

"A scholar is contained in a mountaintop cell, content in his own thoughts. Wistfulness for the unattainable, unapproachable world outside is sated somewhat by his desire for academic study, and his ability to live an ascetic life."

Johannes Vermeer - The Astronomer + The Geographer

The paintings selected as inspiration/subject matter for project are Johannes Vermeer's 'The Astronomer' (1668), and 'The Geographer' (1669)
The selection of two paintings is due to the noticeable connection between the two. Both paintings feature the same model, in the same room/location, using the same props and with a common focus of academic study.

Both feature similar forms of lighting; the only source of direct light is the window which the subject faces. This direct light diffuses throughout the room, replacing any stark shadows with a gentle 'glow', and creating a similar mood in both works. Architectural features of the room seen are somewhat plain and unassuming.

Johannes Vermeer
'The Astronomer'
1668
(Oil on canvas, 50X45cm)

Johannes Vermeer
'The Geographer'
1669
(Oil on canvas, 53X46.6cm)