A Beach near Trouville – Eugene Boudin
Following my time researching in the Barber Institute, I have gained a greater understanding of both the piece and the context in which it was painted. The transformation Trouville took between 1850 and 1870, due to the construction of railways as well as the publicity gained through writers and artists such as Monet and Boudin himself, is now something I want to focus on sonically.
I aim to create two contrasting worlds, one highlighting the natural beauty of the beach, the other focusing on the changing aesthetic of Trouville. These two worlds will be juxtaposed firstly through harsh jump cuts, and will eventually mould into one.
The lone fisherwoman is an important aspect of the piece. Boudin previously relied on figures to create movement and interest in his paintings, but here, combined with the vast sky, and the unusually large canvas, the lone fisherwoman reinforces the solitary nature of the coast. I have therefore been thinking about her journey and how I could represent that in my piece. I’ve decided to record a simple looping melody on the viol that will develop over time.
I have also been thinking about the overall aesthetic I would like to create. The following piece by Jónsi and Alex illustrates the use of subtly changing loops, something I would like to utilise in my piece, as well as an overall feeling of ebbing and flowing, an obvious property of the sea.
Primrose Hill – Winter.
Eye-catching, no? Sounding Images contributor Dicko seemed to think so, read his blog here.
I was instantly drawn to the paining’s shear size and abstract nature in its gallery context; the immediate neighbours are painted in a more classical style (find out more about one of the neighbours here)
During my research on this painting, I discovered that Auerbach painted Primrose Hill, the famous London park, at different times of day in different seasons. I have included some of the other painting’s as well as working sketches below.
In the first linked post above, the conflict between natural landscape and cityscape is discussed. With Primrose Hill being the primary subject of the works, the city is always in the background. This will carry over in my composition as my ‘city’ field recordings will be ever present in the background – listen to one those field recordings:
This recording has the sound of busy London, but also birds and trees too.
The winter edition is very dark and gloomy – research collected from the Barber Institute of Fine Arts suggest the painting indicates dawn, not dusk as commonly suggested. From top to bottom, the painting starts light with yellows and greens, perhaps the sun breaking through the cities skyline. As we head to the southern hemisphere of the painting it becomes denser and denser. This is consistent in the working sketches too, and with the use of panning, volume and working with space and perspective, I aim to recreate this effect in my composition.
With my own ‘working sketches’ – I have tried to start thinking about how I will recreate this.