Showing posts with label painter. Show all posts
Showing posts with label painter. Show all posts
Saturday, January 29, 2011
Margie Livingston's Painting Sculptures
Margie Livingston makes awesome sculptures composed entirely out of many layers of acrylic paint:
Definitely interesting for me to be thinking about as I consider painting in 3d dimensions this semester.
Sunday, August 8, 2010
Sunday, June 6, 2010
Tuesday, June 1, 2010
Whistler's "Gentle Art of Making Enemies"
Been reading "The Gentle Art of Making Enemies: As Pleasingly Exemplified in Many Instances, Wherein the Serious Ones of this Earth, Carefully Exasperated, Have Been Prettily Spurred on to Unseemliness and Indiscretion, While Overcome By an Undue Sense of Right" by the 19th century James Whistler American ex-pat painter living in Britain. Containing biting essays and correspondences between himself and his critics written in 19th century holier-than-thou prose, the book is both a thoroughly entertaining read as well as an interesting view into the art world and critical consensus of the time. Also, Whistler owns on fools that try to step to him:
"Critic's Analysis
In the "Symphony in White No. III", by Mr. Whistler there are many dainty varieties of tint, but it is not precisely a symphony in white. One lady has a yellowish dress and brown hair and a bit of blue ribbon, the other has a red fan, and there are flowers and green leaves. There is a girl in white on a white sofa, but even this girl has reddish hair; and of course there is the flesh colour of the complexions.
-P.G. Hamerton, June 1867
The Critic's Mind Considered
How pleasing that such profound prattle should inevitably find its place in print! "Not precisely a symphony in white... for there is a yellowish dress... brown hair, etc.... another with reddish hair... and of course there is the flesh colour of the complexions."
Bon dieu! did this wise person expect white hair and chalked faces? And does he then, in his astounding consequence, believe that a symphony in F contains no other note, but shall be a continued repetition of F, F, F.?...... Fool!
-Whistler"
Wednesday, April 14, 2010
Wednesday, February 24, 2010
Akseli Gallen-Kallela
Just discovered Finnish late 19th, early 20th century painter Akseli Gallen-Kallela:
Boy and Crow, 1884, 80 cm x 70 cm
"The Defense of the Sampo", 1896, 125 cm x 122 cm, tempera
Kullervo's Curse, 102.5 cm x 184 cm, oil
The last two paintings are illustrations from the Kalevala, the Finnish national epic poem.
Boy and Crow, 1884, 80 cm x 70 cm
"The Defense of the Sampo", 1896, 125 cm x 122 cm, tempera
Kullervo's Curse, 102.5 cm x 184 cm, oil
The last two paintings are illustrations from the Kalevala, the Finnish national epic poem.
Wednesday, December 16, 2009
Susanna Coffey
Been drawing inspiration from contemporary painter, Susanna Coffey lately:
Stream, 2003, oil, 12" x 15" in
Transport, 2008, oil, 12" x 15"
Stream, 2003, oil, 12" x 15" in
Transport, 2008, oil, 12" x 15"
Friday, October 9, 2009
Daniel Ochoa
The figurative work of Daniel Ochoa:
"Seated in El Noche", 60x36 in, oil on canvas
D. Tu, 40x30 in., oil on canvas
"Lyric", 43x46.5 in, oil on board
"Seated in El Noche", 60x36 in, oil on canvas
D. Tu, 40x30 in., oil on canvas
"Lyric", 43x46.5 in, oil on board
Monday, October 5, 2009
Angelika Trojnarski
Digging the work of polish painter Angelika J. Trojnarski:
"Summerhouse II",
"Casting a Noise", 71"x47", 2009
"Skeleton Park XI", 61"x61", 2009
"Sand in Wheels", 47"x40", 2008
"Summerhouse II",
"Casting a Noise", 71"x47", 2009
"Skeleton Park XI", 61"x61", 2009
"Sand in Wheels", 47"x40", 2008
Friday, September 18, 2009
Thursday, September 10, 2009
Mark Dean Veca
Love the playful wall painting installations of Mark Dean Veca:
Appeals to my disappointment in the lack of interior space/design-integrated painting in contemporary art and a my appreciation for any renewal in graffitiesque decorative arts.
Appeals to my disappointment in the lack of interior space/design-integrated painting in contemporary art and a my appreciation for any renewal in graffitiesque decorative arts.
Thursday, August 27, 2009
Allison Schulnik
Painter Allison Schulnik employs some of the best color theory I've seen recently in heavy impasto paintings:
Ship #2, 96" x 68", 2005
Don't really dig the cliche subject matter (clowns, skeletons) in some of her other works too much though.
via BOOOOOOOOM!
Ship #2, 96" x 68", 2005
Don't really dig the cliche subject matter (clowns, skeletons) in some of her other works too much though.
via BOOOOOOOOM!
Monday, August 24, 2009
Henrijs Preiss
Not usually a fan of geometric based abstractions but these paintings by Latvian painter Henrijs Preiss are pretty interesting. The combination of textural and linear elements work very well, and the restrained use of color makes very bold statements when applied. I definitely dig the approximate symmetry (you can immediately tell that it isn't exactly symmetrical but it may take a few moments to pinpoint exactly how it isn't)
No 154, 88cm x 142cm
No 154, 88cm x 142cm
via beautiful/decay blog, which until very recently I was getting dissapointed with due to their overload of pop surrealism and hipster bullshit but lately has been putting out pretty good stuff.
Sunday, July 19, 2009
Back from Florence
Ok technically I've been back for a good month now but I'm titling this post after my New York one in which I reported back with images from the JMW Turner solo show at the Met that blew my mind (found here). So to "report" back from Florence I want to show you some work from Fra Angelico who I saw a lot of work of. I particularly enjoyed the solo exhibit I saw at the Capitoline museum in Rome (however that excellent work is all heavily guarded by the Vatican normally so I cannot find images of it, sorry) but I also went to San Marco in Florence.
Anywho, beyond the fact that he is a very spiritual artist, and my own goals in art look towards the spiritual, I am particularly interested in Fra Angelico's work due to his unusually acute sense of composition as 2d shapes and forms interacting acrossed a single plane. My theory is that while early Rennaissance artists were trying to figure out simply how to render within 3d space, Fra Angelico, and other similar late gothic revivalists were making amazing discoveries in compositional understanding in 2d. Figures are exaggerated into anatomically incorrect shapes, shapes that become compositional devices. In particular, color is masterfully used, a gothic tradition that would toned down by Renaissance artists (even considering our new knowledge of the brightness of Michaelangelo's paintings [which don't even compare color theory wise]) and then all but destroyed by the chiaroscuro obsessed Caravaggio.
But enough talk, pictures:
"Annunciation", Fresco, 1439-1443, Cell 3 of the Convent of San Marco, Florence
Fra Angelico is a master of Annunciations (this being a lesser known one than his most famous work, but from the same convent). Here the colors are more muted than usual but still employed effectively (the figures become simple positive shapes over the large negative white background). An excellent example of Angelico bending the forms into elegant beautiful shapes.
"Crucifixion", From the convent of San marco
Excuse the small image, I could not find a very good one of it. Here we have a very well treated composition. The figures interact across the bottom of the frame creating a rippling undercurrent beneath the figure of Christ, who rises above, all in his supreme holiness. Many of the figure's positions lead off from one to another, and where they do not they often point upward leading the eye towards Christ. This is most obvious in the invisible line between the hand of Saint Dominic just right of the Christ, and Mary (who is fainting)'s hand.
In everyone of Fra Angelico's images I can find little hidden compositional devices that I could stare at for hours.
Anywho, beyond the fact that he is a very spiritual artist, and my own goals in art look towards the spiritual, I am particularly interested in Fra Angelico's work due to his unusually acute sense of composition as 2d shapes and forms interacting acrossed a single plane. My theory is that while early Rennaissance artists were trying to figure out simply how to render within 3d space, Fra Angelico, and other similar late gothic revivalists were making amazing discoveries in compositional understanding in 2d. Figures are exaggerated into anatomically incorrect shapes, shapes that become compositional devices. In particular, color is masterfully used, a gothic tradition that would toned down by Renaissance artists (even considering our new knowledge of the brightness of Michaelangelo's paintings [which don't even compare color theory wise]) and then all but destroyed by the chiaroscuro obsessed Caravaggio.
But enough talk, pictures:
"Annunciation", Fresco, 1439-1443, Cell 3 of the Convent of San Marco, Florence
Fra Angelico is a master of Annunciations (this being a lesser known one than his most famous work, but from the same convent). Here the colors are more muted than usual but still employed effectively (the figures become simple positive shapes over the large negative white background). An excellent example of Angelico bending the forms into elegant beautiful shapes.
"Crucifixion", From the convent of San marco
Excuse the small image, I could not find a very good one of it. Here we have a very well treated composition. The figures interact across the bottom of the frame creating a rippling undercurrent beneath the figure of Christ, who rises above, all in his supreme holiness. Many of the figure's positions lead off from one to another, and where they do not they often point upward leading the eye towards Christ. This is most obvious in the invisible line between the hand of Saint Dominic just right of the Christ, and Mary (who is fainting)'s hand.
In everyone of Fra Angelico's images I can find little hidden compositional devices that I could stare at for hours.
Wednesday, April 8, 2009
Thursday, March 26, 2009
Matt Small
Very, very impressed by the portrait paintings of Matt Small, one of the most original styles I have seen in a while:
Youngstarr I, Mixed Metals on Paint
Youngstarr I, Mixed Metals on Paint
Wednesday, March 25, 2009
Randall Stoltzfus
Digging the landscapes of Randall Stoltzfus:
I'm guessing he's very inspired by Klimt, both partially in style but also in the fact that a few of his paintings are done in gold leaf.
I'm guessing he's very inspired by Klimt, both partially in style but also in the fact that a few of his paintings are done in gold leaf.
Wednesday, February 11, 2009
Thursday, February 5, 2009
Craig Kucia
Listened to a lecture by Miami painter Craig Kucia yesterday:
"The Apple Orchard", 2007, Oil on Canvas, 48"x48"
"Nearly Everything I Have Is In It, And Is Still Not Full", 2006, Oil on Canvas, 102" x 126"
Although he claims not to be so his work does share many elements of pop surrealism (my sworn enemies) so hearing him explain his work softened me to this type of subject matter in general. Also I'm highly anti symbolism in my own work and he revels in the use of symbols and the possibility of multiple interpretations that could vary from his original intentions, which I found incredibly interesting. I was extremely impressed by his technical abilities and use of impasto (which unfortunately you can't see at all in these photographs), often the paint is built up heavily in very small specific areas but from afar the forms often meld into believable realism (I would love to have the chance to see his work in person). Overall, his extreme contrast between his art and my views of what good art should be was very interesting and changed my views on a number of issues.
"The Apple Orchard", 2007, Oil on Canvas, 48"x48"
"Nearly Everything I Have Is In It, And Is Still Not Full", 2006, Oil on Canvas, 102" x 126"
Although he claims not to be so his work does share many elements of pop surrealism (my sworn enemies) so hearing him explain his work softened me to this type of subject matter in general. Also I'm highly anti symbolism in my own work and he revels in the use of symbols and the possibility of multiple interpretations that could vary from his original intentions, which I found incredibly interesting. I was extremely impressed by his technical abilities and use of impasto (which unfortunately you can't see at all in these photographs), often the paint is built up heavily in very small specific areas but from afar the forms often meld into believable realism (I would love to have the chance to see his work in person). Overall, his extreme contrast between his art and my views of what good art should be was very interesting and changed my views on a number of issues.
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