Archive for the ‘Expressionism’ Category
Doing an Abstract Painting
Yesterday in class, I chose an abstract painting by Hans Hofman to reproduce. It has a red slab and a green slab at the bottom of the painting, with black on top of each, giving the appearance of depth – large rocks. There’s blue in the upper left and red at top right and a big splotch or yellow in the middle, and in between is thick white paint.
I didn’t have thick white paint, but as I’ve looked at my rendition for a day, I decided I really want to learn to create my own. In speaking with my daughter, an artist, tonight, she suggested I look up the works of Alexander Colder, Gustav Klimp, Egon Schiele, Wassily Kandinsky, Joan Miro and Paul Klee. The two I liked best were Colder, who first created whimsical mobiles, and Klee who has very whimsical paintings. I guess I go for whimsy!
Abstract Art Class – Winter 2012 – #4
The photo is my last painting which I promised 2 days ago. It’s a small part of another abstract painting, done in the colors I like.
For today’s class, teacher gave us a large sheet of paper with 6 squares on it, each about 4” on a side. She asked us to paint our emotions when she mentioned 6 words and gave us about 2 minutes to paint each one. The words she chose were: calm, stability, movement, excitement, buoyancy and confusion. Since I had never done anything like this before, I had to think a bit! At the end of the exercise when we put our papers on a table and looked at the paintings of the other class members, it was interesting to see what others had done.
Teacher then showed examples of abstract paintings done by famous artists. We could try to reproduce one for ourselves or create our own abstract painting.
Finishing My Abstract Paintings
Work needed to be done on some of my latest paintings to finish them. The last abstract painting, “Bubbles,” needed to have the white painted around the edges and a signature in order to be finished. I now have done that.
For the new painting which was begun last Wednesday, I repainted most of it because the paint, when dry, was just too sparse. Along one corner I tried to make it appear as if there were pipes or tubes with rounded surfaces. That’s difficult in acrylics because blending is not easy. It’s much easier to blend when working in oils. Anyway, I finished all that, but still have the finishing marks to add and a signature. Hopefully, I’ll post it tomorrow or soon.
Judging Landscape Paintings
Damar Minyak, of Kansas City (area), MO, wrote a response to the January 20, 2012 newsletter written by Robert Genn, Canadian landscape painter. It touched me because I feel very much the same way.
“History has shown that those who set themselves up as arbiters of “proper art” are wrong, almost 100% of the time. Consider as the prime example, the Impressionists, who set themselves up because the museums and “art experts” of their day refused their products. Today, it seems, almost everybody wants to pretend to the title “neoimpressionist” or “post impressionist” or “non-impressionist”, or whatso-everist. Judged shows usually mean “It all has to look like our stuff.” Virtually all of the artists I respect were the renegades of their periods. So, it remains, for my contemporaries. Being told I’m not doing it correctly just makes me smile, and say, ‘Thank you!’ “
Abstract Art Class – Winter 2012 – #3
Since yesterday I repainted the dark green to a lighter green on my abstract painting and changed one dark green circle to yellow. Everyone in class liked the white edge, so all I have to do is sign it. Oh – it really looks great hanging on a corner with the big blue circle down! Great for a kid’s room!
We used an interesting way to create an abstract painting today. Teacher gave us 3 x 5 cards with a rectangle cut out to use as a view finder and we looked at a variety of photos of paintings. The object was to use the viewfinder to eliminate all but a small area and move it around until we found a pleasing abstract. Then paint it as we saw it or alter it as we liked. Now, how easy is that for finding inspiration for a panting?
Abstract Art Class – Winter 2012 – #2 (2)
The lesson today was on Design Composition. Teacher gave each of us a sheet of paper with 12 designs for abstract art – probably the only different kinds of design formats possible. For each there was an example of the basic design and a painting using that format. For me, some were easy to see, some, not so much.
The Cruciform, Horizontal, Vertical and Diagonal formats were easy to see. The Cantilever and Golden Section (at the crossed lines of a tic-tac-toe game) formats looked similar in the paintings. The Constellation format was a series of mostly dots, a little heavier on one side than the other, perhaps shaped like a spiral. Meander was more like brush strokes all over the canvas (think Jackson Pollack). Curves was shown by overlapping circles or spheres, Overlapping Frames was overlapping squares and rectangles, some just outlined, some colored. Tension showed imbalance, large on one side, small on the other. Spiritual showed an equilateral triangle within a circle. Your challenge: Try to think up something different!
Abstract Art Class – Winter 2012 – #2
Last week teacher promised to show us a method of creating texture in abstract paintings and she began the class with this demonstration. We will put tissue paper on canvas or on 140# or 250# watercolor paper and she passed around samples of each for us to feel. She also folded the 140# paper to show that 2 or 3 foldings are necessary in order to tear it successfully. Also a little water on the edge weakens it making it easier to tear.
When applying tissue to paper or canvas always use craft tissue, not the tissue used for gift wrap. Apply a coat of matte medium to the paper or canvas, wad up a sheet of tissue and put it on the surface, allowing it to wrinkle in many directions. Be sure to cover the entire surface, using more tissue as needed. Using the matte medium again, paint over the entire surface, pasting down any loose parts. Put it in the sun to dry and it is ready for paint.
Abstract Art Class – Winter 2012 #1 (2)
In this blog, I would like to expand somewhat the steps mentioned yesterday in the creation of an abstract painting. Step 1 is a detailed sketch of the view. This drawing could be done in pencil or other media. Step 1 helps you to recognize the detail, shapes, shadows and light areas that make the view interesting. You are learning to recognize the elements of the photo and how they interact with each other. Step 2 creates a “softened reality” of the drawing in Step 1. Fine details are eliminated and unnecessary shapes begin to meld with others nearby. The goal is a stylized work with a result that is still recognizable and has many similarities to the original detailed drawing.
Step 3 is where the true nature of abstraction begins to take shape. In Step 3, further simplification takes place and all semblance of recognition is eliminated. The predominant shapes take command and the lesser shapes and elements dissolve. In some situations, this could be the last step in the process. Step 4 is a full-blown personal interpretation of the elements of your design/scene/subject. The three steps previous to this final artwork help you learn ways to trim unnecessary details and clutter, to begin to express personal emotions based on the drawn designs. The freedom that is afforded the abstract artist can be very liberating and rewarding. Eventually you will be able to bypass Steps 1 through 3, perhaps doing only one quick study to lay out the design and visualize the end result. Think: examine, distill, express!
Why the Landscape Painter Should Teach a Workshop – Part 4
In his article in the December 2011 issue of Professional Artist, Alan Bamberger gives some additional hints for the landscape painter who is interested in holding a workshop. First, decide what you want to teach and plan your agenda ahead of time. Practice in order to make sure that you can accomplish what you want to do within a set time period.
Advertise that no experience is necessary in order to attend, but also indicate that artists who sign up will learn something new. A good workshop teacher knows how to address a variety of skill levels and make sure everyone is comfortable and learns something. Advertise in places where artists and people who like art congregate. These include bulletin boards, newsletters of arts and artist organizations, your own mailing lists, recreation centers, art centers, art schools, cafes, coffee shops and art sites on the Internet.
Determine what supplies are needed and whether or not to provide them. If you’re just starting out, providing them yourself is usually the best option, but be sure to work that into the price. Plan to have 3 to 10 students. You want to make sure each student gets individual attention. If your space is not adequate, ask your best collectors if they can provide you space in exchange for a painting or free workshop. Holding a workshop every month or two is a good frequency.
Why the Landscape Painter Should Teach a Workshop – Part 3
People attend workshops for a variety of reasons. Many have little or no previous experience with art and merely want to relax, have fun and explore their creative sides. Others want to take up art as a hobby but do not want to invest a great amount of time and effort in an ongoing program of study. Trained artists will attend them in order to acquire new skills or learn techniques outside their areas of expertise.
The big advantage of workshops is that participants receive individual attention and support from teachers. Beginners and hobbyists will appreciate the hands on approach for self esteem and personal creative growth. Artists will appreciate it for professional and technical reasons.
With such divergent interest among attendees, making students happy is of prime importance, and there are successful strategies you can employ. The two most important criteria the landscape painter should use for successful workshops are: choosing a method or technique that can be taught completely within the half-day or full day period of the workshop, and insuring that each student comes away with a finished work of art – a diploma.