Archive for the ‘Expressionism’ Category
The Landscape Painter Visits a Seattle Museum
Last week Robert Genn, Canadian landscape painter, was talking about the virtues of line drawings. In reply, Robert Wiltshire mentioned that he had gone to see the Paul Gauguin show in Seattle. He had wanted to see how Gauguin had handled “line” and what his brush strokes actually looked like.
Problem was, there was tape on the floor about 10 feet from the paintings and no one could get closer to the paintings than the tape. He had not brought binoculars and the light was dim, so he was unhappy, to say the least.
In reply to that, Bob Martin suggested the Google Art Project. When I searched for “Google Art Project,” I found that there are 17 museums from around the world that I could visit. Sometimes the getting around was a bit challenging, but on some paintings, I could see the brushstrokes.
Abstract Art Class – Spring 2012 – #4(2)
Teacher continued showing us ways to add texture to our abstract paintings. I had really not thought about adding texture until now, but all of these ways sound interesting. The adventurer in me is anxious to try them.
Thick red paint could be added to a green background with a spatula. Lines can be created in the red paint by using the opposite end of a paint brush to scrape away the wet paint. Some artists use this method for signing their works. Using a sponge with wet red paint on green makes good images of trees. A tooth brush can be used to spatter paint or to dab. A brayer (roller) can be used to create interesting textures – especially if it is worn or has and uneven surface. Credit cards can be used to spread on paint or make thin lines. A glaze can be added by putting thin paint on a Viva tower (teacher likes Viva) and covering part or all of the painting. Using a wadded up garbage bag can add interesting texture to wet paint. And, finally, oil pastels can be used in any way you see fit. Since they are oil based, you must spray with a clear acrylic before varnishing twice.
Abstract Art Class – Spring 2012 – #4
Today’s lesson in abstract painting was about texture. Teacher showed us many ways to create texture.
She began by using a palette knife or spatula to put Molding Paste on paper. Molding Paste is a thick substance, somewhat like plaster, which can be painted when it dries. Some of the paint then can be rubbed off, enhancing the ridges of the texture. Extra Heavy Gel is a paste and can be used to create texture or to adhere things together. Fiber Paste also creates texture. Glass Bead Gel can be applied to a picture, painted, and if paint is rubbed off an interesting texture results. Salt raises the pigment so that if red is painted on a dry green page and salt is applied, some of the red will be lifted.
Compositional Problems of the Landscape Painter (3)
These are the last of the compositional problems which Robert Genn discussed in his twice weekly letter. As landscape painters, we all must guard against our paintings having one or more of these flaws.
Too much going on. Overly busy works tire the eye, induce boredom and make it difficult to find a center of interest or focus. Less is often more. “Take something out,” said the American painter and illustrator Harvey Dunn.
Defeated by size. Effective small paintings often work well because they are simple and limited in scope. But when artists make larger paintings they often lose control of the basic idea and what is ironically called “the big picture.” “The larger the area to be painted,” says Alfred Muma, “the harder it is to have a good composition.”
Compositional Problems of the Landscape Painter (2)
We continue with Robert Genn’s letter about problems in composition which landscape painters often have. These are the second two:
“Amorphous design. The general design lacks conviction. A woolly, lopsided or wandering pattern makes for a weak one. Often, the work has unresolved areas and lacks cohesiveness and unity. “Everything that is placed within the enclosing borders of the picture rectangle relates in some way to everything else that is already there. Some attribute must be shared between all of them.” (Ted Smuskiewicz)
Lack of flow. Rather than circulating the eye from one delight to another, the work blocks, peters out and invites you to look somewhere else. “Composition,” said Robert Henri, “is controlling the eye of the observer.” Effective compositions often contain planned activation (spots like stepping stones that take you around), and serpentinity (curves that beguile and take you in.)”
Abstract Art Class – Spring 2012 – #3(2)
The second part of our abstract painting class was focused on painting figures without going into a great amount of detail and/or painting them abstractly. Teacher then showed photos of figure paintings done by well-known artists. We could then paint one of the pictures she brought or one we had brought with us.
I chose one of teacher’s photos – a painting by William DeBilzan. She had two photos of his work – one photo had one figure on a red background and the other had 5 figures on a green background. I really didn’t care for the shade of green and chose to make the background red. It worked fine! I still have a few touch-ups to do, but it is so nice to know I can put a figure in my painting without painting it precisely!
Abstract Art Class – Spring 2012 – #3
At our beginning critique today, teacher and class liked both of the abstract paintings I took – the rectangles with the meandering yellow-green line and the one I’m showing you today painted after one Hans Hofmann painted many years ago. I had trouble with the black ink bottle, but teacher liked the painting even with the splotches!
Teacher then gave us a large sheet of paper on which were 6 squares about 4” on a side. We had 1 minute each to paint how we felt as she read the 6 words: calm, stability, movement, excitement, buoyancy and frustration. We then took a page from our sketch pad and painted a large painting of one of those feelings. Afterward, we got in a circle, put our paintings on the floor and looked at all the paintings of “calm,” etc. By placing a mat around these squares we found that some would make good abstract paintings. This was especially true of the larger paintings we did on the sketch pad sheet.
Creativity for the Landscape Painter
In Andrew Agassi’s autobiography Open, I found some useful information for the landscape painter: “Although people talk about being creative as though it were a headless achievement, I think this quote does actually hit the nail on the proverbial head. Examining the achievements of the achievers, there’s no denying that a lot of their success lies in the marketing, and if that isn’t head stuff, I’d like to know what is. I’d quarrel with the mathematics in that percentage calculation, but I can’t quarrel with the message.
But the other point is also salient, I think. I know from my own experience how negative the striving for perfection can actually be. Self-criticism, certainly. Self-annihilation, no. But how does one know when that line has been crossed? Is it now time to re-gesso those 50 colorful canvases that have been hanging around for longer than I care to reveal? Or do I show mercy yet again?
The answer must be in that quote. It’s a case of what Agassi’s coach Brad Gilbert calls “meat and potatoes.” When you play tennis, you don’t have to beat the world, just make the opponent fall down (= lose) or better still, let him lose. When you make an artwork, you don’t have to be better than Rubens or Picasso or anyone else for that matter. But maybe just a bit better than the worst thing you’ve ever done yourself and then a helluva lot better at selling it!”
Agassi’s Advice to Original Painters
I came across this in Andrew Agassi’s autobiography Open and think it might help a few of us who do original paintings: “You’re making everyone around you miserable. You’re making yourself miserable. Perfection? There’s about five times a year you wake up perfect, when you can’t lose to anybody, but it’s not those five times a year that make a tennis player. Or a human being, for that matter.
It’s the other times. It’s all about your head, man. With your talent, if you’re fifty percent game-wise, but ninety-five percent head-wise, you’re going to win. But if you’re ninety-five percent game-wise and fifty percent head-wise, you’re going to lose, lose, lose.” P.S. The photo is my version of one of Hans Hoffman’s paintings.
Abstract Art Class – Sppring 2012 – #2
Our second class in abstract painting began with a critique of paintings which were finished at home since last class. Most were good, but one was stunning! As usual, teacher turns each of them around to see which way we prefer to have it hung – the way you paint it is not necessarily the best way to hang it!
Teacher then showed photos of paintings by well-known artists and we could choose one of hers to paint or one we had brought. I chose one by Hans Hoffmann. I think he might be my new favorite painter because he uses bright colors. We had another critique at the end of the day but my canvas was large and I need lots of time at home to finish it. The picture today is of last week’s rectangles.